m .-. 


SHAKESPEARE 


AND 


THE     EMBLEM     WRITERS. 


LANCTCN.Sc.MANcR 
PORTRAITS  FKOM  OKH;IXAI.  PI.ATI-:S.-^«-/«WJ  by  BOH,IMH<-  A.D.  1555;  the  others  by  Theodore de Bryt  A.D.  1597- 


SHAKESPEARE 


AND 


THE    EMBLEM    WRITERS; 


AN    EXPOSITION    OF   THEIR 


SIMILARITIES   OF   THOUGHT   AND    EXPRESSION. 


PRECEDED    BY  A  VIEW    OF    EMBLEM -LITERATURE    DOWN    TO    A.D.    l6l6. 


BY  HENRY   GREEN,  M.A. 


MEitfj  numerous  JHlustrattoc  JBtbiccs  from  tljc  Original  Slutljors. 


Portrait  of  Shakespeare. 
From  the  Oil  Painting  in  the  possession  of  Dr.  Clay,  of  Manchester. 


LONDON:    TRUBNER    &    CO.,   60,  PATERNOSTER    ROW. 

1870. 
{Right  of  Translation  reserved.} 


EW  only  are  the  remarks  absolutely  needed  by 
way  of  introduction  to  a  work  which  within 
itself  sufficiently  explains  and  carries  out  a  new 
method  of  illustration  for  the  dramas  of  Shake- 
speare. As  author,  I  commenced  this  volume  because  of 
various  observations  which,  while  reading  several  of  the  early 
Emblem  writers,  I  had  made  on  similarities  of  thought  and 
expression  between  themselves  and  the  great  Poet ;  and  I  had 
sketched  the  whole  outline,  and  had  nearly  filled  it  in,  without 
knowing  that  the  path  pursued  by  me  had  in  any  instance  been 
trodden  by  other  amateurs  and  critics.  From  the  writings  of 
the  profoundly  learned  Francis  Douce,  whose  name  ought  never 
to  be  uttered  without  deep  respect  for  his  rare  scholarship 
and  generous  regard  to  its  interests,  I  first  became  aware  that 
Shakespeare's  direct  quotation  of  Emblem  mottoes,  and  direct 
description  of  Emblem  devices,  had  in  some  degree  been  already 
pointed  out  to  the  attention  of  the  literary  public. 

And  right  glad  am  I  to  observe  that  I  have  had  precursors 
in  my  labours,  and  companions  in  my  researches  ;  and  that,  in 
addition  to  Francis  Douce,  writers  of  such  repute  as  Langlois 
of  Rouen,  Charles  Knight,  Noel  Humphreys,  and  Dr.  Alfred 
Woltmann,  of  Berlin,  have,  each  by  an  example  or  two,  shown 
how,  with  admirable  skill  and  yet  with  evident  appropriation, 

985609 


viii  PREFACE. 

our  great  Dramatist  has  interwoven  among  his  own  the  materials 
which  he  had  gathered  from  Emblem  writers  as  their  source. 

To  myself  the  fact  is  an  assurance  that  neither  from  aiming 
at  singularity  of  conjecture,  nor  from  pretending  to  a  more 
penetrating  insight  into  Shakespeare's  methods  of  composition, 
have  I  put  before  the  world  the  following  pages  for  judgment. 
Those  pages  are  the  results  of  genuine  study, — a  study  I  could 
not  have  so  well  pursued  had  not  liberal-minded  friends  freely 
entrusted  to  my  use  the  book-treasures  which  countervailed 
my  own  deficiencies.  The  results  arrived  at,  though  imper- 
fect, are  also,  I  believe,  grounded  on  real  similitudes  between 
Shakespeare  and  his  predecessors  and  contemporaries  ;  and 
those  similitudes,  parallelisms,  or  adaptations  of  thought,  by 
whichever  name  distinguished,  often  arose  from  the  actual 
impression  made  on  his  mind  and  memory  by  the  Emblematists 
whose  works  he  had  seen,  read,  and  used. 

As  a  suitable  Frontispiece  the  portraits  are  presented  of  five 
celebrated  authors  of  the  fifteenth  and  sixteenth  centuries  :  one 
a  German — Sebastian  Brandt  ;  three  Italian — Andrew  Alciat, 
Paolo  Giovio,  and  Achilles  Bocchius ;  and  one  from  Hungary — 
John  Sambucus.  They  were  all  men  of  learning  and  renown, 
whom  kings  and  emperors  honoured,  and  whom  the  foremost  of 
their  age  admired.  The  central  portrait,  that  of  Bocchius  of 
Bologna,  is  from  the  famous  artist  Giulio  Bonasone,  and  the 
original  engraving  was  retouched  by  Augustino  Caracci.  The 
other  portraits  have  been  reduced  from  the  "  ICONES,"  or 
Figures  of  Fifty  Illustrious  Men,  which  Theodore  de  Bry 
executed  and  published  during  Shakespeare's  prime,  in  1597. 
In  their  own  day  they  were  regarded  as  correct  delineations  and 
likenesses,  and  are  said  to  be  authentic  copies. 

The    vignette    of    Shakespeare    on  .the    title-page    is    now 


PREFACE.  ix 

engraved  for  the  first  time.  The  original  is  an  oil-painting,  a 
head  of  the  life  size,  and  possessing  considerable  animation 
and  evidences  of  power.  It  is  the  property  of  Charles  Clay, 
Esq.,  M.D.,  Manchester.  Without  vouching  for  its  authenticity, 
we  are  justified  in  saying,  when  it  is  compared  with  some  other 
portraits,  that  it  offers  equal,  if  not  superior,  claims  to  genuine- 
ness. To  discuss  the  question  does  not  belong  to  these  pages, 
but  simply  and  cordially  to  acknowledge  the  courtesy  with 
which  the  oil-painting  was  offered  for  use  and  allowed  to  be 
copied,  and  to  say  that  our  woodcut  is  an  accurate  and  well- 
executed  representation  of  the  original  picture. 

Of  the  ornamental  capitals  at  the  head  of  the  chapters,  and 
of  the  little  embellishments  at  their  end,  it  may  be  remarked 
that,  with  scarcely  an  exception,  there  are  none  later  than  our 
Poet's  day,  and  but  few  that  do  not  belong  to  Emblem  books : 
they  are  forty-eight  in  number.  The  illustrative  woodcuts 
and  photolith  plates,  of  which  there  are  one  hundred  and 
fifty-three  of  the  former  and  nineteen  of  the  latter,  partake  of 
the  variety,  and,  it  may  be  said,  apologetically,  of  the  defects 
of  the  works  from  which  they  have  been  taken.  However 
fanciful  in  themselves,  they  are  realities, — true  exponents  of  the 
Emblem  art  of  their  day ;  so  that,  within  the  compass  of  our 
volume,  containing  above  two  hundred  examples  of  emblematic 
devices  and  designs,  is  exhibited  a  very  full  representation  of 
the  various  styles  of  the  original  works,  and  which,  in  the 
absence  of  the  works  themselves,  may  serve  to  show  their  chief 
characteristics.  The  Photoliths,  I  may  add,  have  been  executed 
by  Mr.  A.  Brothers,  of  Manchester. 

Doubtless  both  the  woodcuts  and  the  plates  are  very 
unequal  in  their  execution ;  but  to  have  aimed  at  a  uniformity 
even  of  high  excellence  would  have  been  to  sacrifice  truth  to 


x  PREFACE. 

mere  embellishment.  It  should  be  borne  in  mind  what  one  of 
our  objects  has  been,  —  namely,  to  place  before  the  reader 
examples  of  the  Emblem  devices  themselves,  very  nearly  as 
they  existed  in  their  own  day,  and  not  to  attempt  the  ideal 
perfection  to  which  modern  art  rightly  aspires. 

The  Edition  of  Shakespeare  from  which  the  extracts  are 
taken  is  the  very  excellent  one,  in  nine  volumes,  issued  from 
Cambridge,  1863 — 1866.  Its  numbering  of  the  lines  for  pur- 
poses of  reference  is  most  valuable. 

Our  work  offers  information,  and  consequently  advantage,  to 
three  classes  of  the  literary  public  :— 

ist.  To  the  Book  Agent  and  Book  Antiquarian,  so  far  as 
relates  to  books  of  Emblems  previous  to  the  early  part  of  the 
seventeenth  century,  A.D.  1616.  In  a  collected  and  methodical 
form,  aided  not  a  little  by  the  General  Index,  the  first  chapters 
and  sections  of  our  volume  supply  information  that  is  widely 
scattered,  and  not  to  be  obtained  without  considerable  trouble 
and  search.  The  authors,  titles,  and  dates  of  the  chief  editions  of 
Emblem  books  within  the  period  treated  of,  are  clearly  though 
briefly  given,  arranged  according  to  the  languages  in  which  the 
books  were  printed,  and  accompanied  where  requisite  by  notices 
and  remarks.  There  is  not  to  be  found,  I  believe,  in  any  other 
work  so  much  information  about  the  early  Emblem  books, 
gathered  together  in  so  compendious  and  orderly  a  manner. 

2nd.  To  the  Students  and  Scholars  of  Shakespeare,  —  a 
widely -extended  and  ever -increasing  community.  Another 
aspect  of  the  Master's  reading  and  attainments  is  opened  to 
them  ;  and  into  the  yet  unquarried  illustrations  of  which  his 
marvellous  writings  are  susceptible,  another  adit  is  driven.  We 
may  have  followed  him  through  Histories  and  Legends,  through 
the  Epic  and  the  Ballad,  through  Popular  Tales  and  Philosophic 


PREFACE.  xi 

Treatises, — from  the  forest  glade  to  the  halls  and  gardens  of 
palaces, — across  the  wild  moor  where  the  weird  sisters  muttered 
and  prophesied,  and  to  that  moon-lighted  bank  where  the  sweet 
Jessica  was  sitting  in  all  maiden  loveliness ; — but  if  only  for 
variety's  sake  it  may  interest  us,  even  if  it  does  not  impart  plea- 
sure, to  mark  how  much  his  mind  was  in  accord  with  the  once 
popular  Emblem  literature,  which  now  perchance  awakens 
scarcely  a  thought  or  a  regret,  though  great  scholars  and  men  of 
genius  devoted  themselves  to  it ;  and  how  from  that  literature, 
imbued  with  its  spirit  and  heightening  its  power,  even  he — the 
self-reliant  one — borrowed  help  and  imagery,  and  made  his  own 
creations  more  his  own  than  otherwise  they  would  have  been. 

And  3rd.  To  the  great  Brotherhood  of  nations  among  the 
Teutonic  race,  to  whom  Shakespeare  is  known  as  a  chieftain 
among  the  Lares, — the  heroes  and  guardians  of  their  house- 
holds. In  him  they  recognise  an  impersonation  of  high  poetic 
Art,  and  they  desire  to  see  unrolled  from  the  treasures  of  the 
past  whatever  course  his  genius  pursued  to  elevate  and  refine 
its  powers  ; — persuaded  that  out  of  the  elevation  and  refinement 
ever  is  springing  something  of  his  own  inspiration  to  improve 
and  ennoble  mankind. 

A  word  or  two  may  be  allowed  respecting  the  translations 
into  English  which  are  offered  of  the  Emblem  writers'  verses 
occurring  in  the  quotations.  An  accurate  rendering  of  the  ori- 
ginal was  desirable ;  and,  therefore,  in  many  instances,  rhymes 
and  strictly  measured  lines  have  been  abjured,  and  cadence 
trusted  rather  than  metre ;  the  defect  of  the  plan,  perhaps,  is 
that  cadence  varies  with  the  peculiar  pitch  and  intonation  of 
each  person's  voice.  Nevertheless,  among  rhymes  the  Oarsman's 
Cry  (p.  61)  might  find  a  place  on  Cam,  or  Isis,  and  the  Wolf 
and  the  Ass  (p.  54)  be  entitled  to  abide  in  a  book  of  fables. 


xii  PREFACE. 

In  behalf  of  quotations  front  the  original,  it  is  to  be  urged 
that,  to  defamiliarise  the  minds  of  the  public,  so  much  as  is  now 
the  custom,  from  the  sight  of  other  languages  than  their  own,  is 
injurious  to  the  maintenance  of  scholarship ;  and  were  it  not  so, 
the  works  quoted  from  are  many  of  them  not  in  general  use, 
and  some  are  of  highest  rarity ; — it  is,  therefore,  only  simple 
justice  to  the  reader  to  place  before  him  the  original  on  the  very 
page  he  is  reading. 

The  value  of  the  work  will  doubtless  be  increased  by  the 
Appendices  and  the  very  full  Index  which  have  been  added. 
These  will  enable  such  as  are  inclined  more  thoroughly  to 
compare  together  the  different  parts  of  the  work,  and  better  to 
judge  of  it,  and  to  pursue  its  subjects  elsewhere. 

My  offering  I  hang  up  where  many  brighter  garlands  have 
been  placed, — and  where,  as  generations  pass  away,  many  more 
will  be  brought ;  it  is  at  his  shrine  whose  genius  consecrated 
the  English  tongue  to  some  of  the  highest  purposes  of  which 
speech  is  capable.  For  Humanity  itself  he  rendered  his  Service 
of  Song  a  guidance  to  that  which  is  noble  as  well  as  beautiful, — 
a  sympathy  with  our  nature  as  well  as  a  truth  for  our  souls. 
God's  benison  rest  upon  his  memory ! 


August  10,  1869. 


FRONTISPIECE  .... 

PAGE. 

TITLE-PAGE       

PREFACE    

vii 

CONTENTS         ........ 

xiii 

CHAPTER    I. 

EMBLEMS  AND  THEIR  VARIETIES,  WITH  SOME  EARLY  EXAMPLES  . 


i—  29 


CHAPTER    II. 

SKETCH  OF  EMBLEM-BOOK  LITERATURE  PREVIOUS  TO  A.D.  1616  .        .  30 — 104 

Sect.    I.     General    Extent   of    the   Emblem    Literature    to   which 

Shakespeare  might  have  had  Access  ....  30 —  37 

,,      2.     Emblem  Works  and   Editions  down  to  the  end  of  the 

Fifteenth  Century     .......  38 —  59 

,,      3.     Other  Emblem  Works  and  Editions  previous  to  A.D.  1564  60 —  83 

*'.  e.    i.    Before  Alciat's  first  Emblem  Work,  A.D.  1522   .  60 —  68 

2.  Down  to  Holbein,   La  Perriere,  and  Corrozet, 

A.D.  1543.                .....  69-  75 

3.  Down  to  Shakespeare's  birth,  A.  D.  1564     .         .  75 —  83 

Sect.  4.     Emblem  Works  and  Editions  from  A.D.  1564  to  1616      .  84 — 104 


xiv  TABLE    OF    CONTENTS. 

CHAPTER    II.— (continued}. 

PAGE. 

SKETCH  OF  EMBLEM-BOOK  LITERATURE  PREVIOUS  TO  A.D.  1616  .        .  30 — 104 

i.  e.    I.    Before    Shakespeare  had   entered    fully   on  his 

Work,  A.D.  1590 84 —  92 

2.    Until  he  had  ended  the  Twelfth  Night  in  1615    .  92—104 

CHAPTER    III. 

SHAKESPEARE'S  ATTAINMENTS  AND  OPPORTUNITIES  WITH  RESPECT  TO 

THE  FINE  ARTS 105—118 

CHAPTER    IV. 

THE  KNOWLEDGE    OF    EMBLEM    BOOKS    IN    BRITAIN,    AND    GENERAL 

INDICATIONS  THAT  SHAKESPEARE  WAS  ACQUAINTED  WITH  THEM   .  119 — 155 

CHAPTER    V. 

Six  DIRECT  REFERENCES  IN  THE  PERICLES  TO  BOOKS  OF  EMBLEMS, 

SOME    OF    THEIR     DEVICES     DESCRIBED,     AND    OF    THEIR    MOTTOES 

QUOTED 156—186 

CHAPTER    VI. 

CLASSIFICATION  OF  THE  CORRESPONDENCIES    AND    PARALLELISMS   OF 

SHAKESPEARE  WITH  EMBLEM  WRITERS    ......  187 — 462 

Sect.   I.    Historical  Emblems 188—211 

,,      2.     Heraldic  Emblems          .         .         .         .         .                   .  212 — 240 

,,      3.     Emblems  for  Mythological  Characters     ....  241 — 301 

,,      4.    Emblems  Illustrative  of  Fables        .....  302 — 317 

,,      5.     Emblems  in  connection  with  Proverbs     ....  318 — 345 

,,      6.     Emblems  from  Facts  in  Nature,  and  from  the  Properties 

of  Animals 346—376 

,,      7.    Emblems  for  Poetic  Ideas       ......  377 — 410 

,,     8.    Moral  and  ^Esthetic  Emblems 411 — 462 

CHAPTER    VII. 

MISCELLANEOUS  EMBLEMS,  RECAPITULATION,  AND  CONCLUSION    .        .  463—496 


TABLE.  OF    CONTENTS.  xv 

APPENDICES. 

PAGE. 
I. 

COINCIDENCES  BETWEEN  SHAKESPEARE  AND  WHITNEY.        .        .        .  497 — 514 

II. 

SUBJECTS,  MOTTOES,  AND  SOURCES  OF  THE  EMBLEM  IMPRESE      .        .  515 — 530 

III. 

REFERENCES   TO  PASSAGES    FROM    SHAKESPEARE,    AND   TO   THE   COR- 
RESPONDING DEVICES  OF  THE  EMBLEMS  TREATED  OF     ...  531 — 542 

GENERAL  .  INDEX  .        .         .  543—571 


PHOTO-LITH     PLATES. 


PLATE.  SUBJECT.  SOURCE.  PAGE. 

I.     Dedication  Plate         ....      Alciat's  Emb.  Ed.  1661          .         .         I 

la.  Tableau   of    Human    Life,  —  Cebes,      De  Hooghe,  1670          .         .  13 

B.C.  330. 

Ib.   Tableau    of   Human    Life,  —  Cebes,      Old  Print 68 

B.C.  330. 

II.     Christ's  Adoption  of  the  Human  Soul      Otho  Voenius,  Divini  Amoris  Emb.       32 

1615. 

III.  Creation Symeoni's  Ovid,  Ed.  1559,  p.  13   .       35 

IV.  Title-page, — Speculum  Humana  Sal-      A  MS.  of  the  1st  Edition,  1440      .       44 

vationis. 

V.     Leaf  31, — Speculum  Humance  Salva-      A  MS.  of  the  1st  Edition,  1440      .       44 
tiojiis. 


xvi  TABLE    OF    CONTENTS. 

PLATE.  SUBJECT.  SOURCE.  PAGE. 

VI.     A  page  from  the  Biblia  Pauperum  .       Noel  Humphreys,  p.  40,  PI.  2        .       46 

VII.     Historia   S.   Joan,  per  Figuras, —      Tracing  from  the  Block-book          .       49 
Corser  Collection. 

VIII.     Historia   S.    Joan,  per  Figuras, —      Tracing  from  the  Block-book          .       49 
Corser  Collection. 

IX.     Title-page  of  Seb.   Brandt's  Fool-      Locher's  Stultifera  Navis,  Ed.  1497       57 
freighted  Ship. 

X.     Title-page     of    Van     der    Veen's      Adams  Appel,  Ed.  1642          .         .132 
Emblems. 

XL     Fall  of  Satan          ....       Boissard's  Theat.    Vit.   Hum.    Ed.      133 

1596. 

XII.     Occasion  seized      .         .         .         .       David's  Occasio  arr.  &c.  Ed.  1605 .     265 

XIII.  The  Zodiac Brucioli,  Delia  Sphera,  Ed.  1543   .     353 

XIV.  Life  as  a  Theatre  ....      Boissard's   Theat.    Vit.   Hum.    Ed.     405 

1596. 

XV.     Seven    Ages    of    Life, — an    early      Archceologia,      vol.      xxxv.      1853,     407 
Block- Print,  British  Museum.  p.  167. 

XVI.     Providence  making  Rich  and  mak-      Coornhert,  Ed.  1585      .         .         .     489 
ing  Poor. 

XVII.     Time  flying Otho    Vcenius,     Emblemata,     Ed.     491 

1612. 


ffesius,  1636. 
Stans  vno  capit  omnia  puncto. 


JOSEPH  BROOKS  YATES 


ESQUIRE, 

OF    WEST    DINGLE, 
LIVERPOOL, 

WHOSE    RARE     AND    EXTENSIVE 
COLLECTION  OF 

BOOKS    OF    EMBLEMS       i 

FIRST  ENABLED  THE 

AUTHOR 

TO   STUDY   THEIR  LITERATURE, 
THESE 

Shakespeare-Illustrations 

AKK    GRATEFULLY 


SHAKESPEARE 


AND    THE 


EMBLEM-WRITERS    OF    HIS    AGE. 


CHAPTER   I. 

EMBLEMS,    AND    THEIR    VARIETIES,     WITH*  SOM& ,  EA^RL  Y   , 
EXAMPLES.  ?  V  -    ^  - 


HAT  Emblems  are,  in  Ijie  ^general  accepta- 
tion  of  the  word  in  modern  times,  is  well 
set  forth  in  Cotgrave's  Dictionary,  Art. 
EMBLEMA,  where  he  defines  an  emblem  to 
be,  "  a  picture  and  short  posie,  expressing  some  particular 
conceit;"  and  very  pithily  by  Francis  Quarles,  when  he  says, — 
"  an  Emblem  is  but  a  silent  Parable."  Though  less  terse  and 
clear  than  either  of  these,  we  may  also  take  Bacon's  description,, 
in  his  Advancement  of  Learning,  bk.  v.  chap.  5; — "  Embleme 
deduceth  conceptions  intellectuall  to  images  sensible,  and  that 
which  is  sensible  more  forcibly  strikes  the  memory,  and  is  more 
easily  imprinted  than  that  which  is  intellectual." 

By  many  writers  of  Emblem  books,  perhaps  by  the  majority 
in  their  practice  if  not  in  their  theories,  there  is  very  little 
difference  of  meaning  observed  between  Symbols  and  Emblems. 
We  find,  however,  in  other  Authors  a  more  exact  usage  of  the 


2  EMBLEMS  :  [CHAP.  I. 

word  Symbol.  The  Greek  poet  Pindar  *  speaks  of  "  a  trust- 
worthy symbol,  or  sign,  concerning  a  future  action,"  or  from 
which  the  future  can  be  conjectured  ;  lago,  recounting  the 
power  of  Desdemona  over  Othello,  act  ii.  scene  3,  1.  326, 
declares  it  were  easy 

"for  her 

To  win  the  Moor,  were't  to  renounce  his  baptism, 

All  seals  and  symbols  of  redeemed  sin  ;  " 

and  Cudworth,  in  his  True  Intellectual  System  of  the  Uni- 
verse, ed.  1678,  p.  388,  after  giving  Aristotle's  assertion  "  that 
Numbers  were  tJie  Causes  of  the  Essence  of  other  things" 
adds,  "  though  we  are  not  ignorant,  how  the  Pythagoreans 
made  also  the  Numbers  within  the  Decad,  to  be  Symbols  of 
things." 

Claude  Mignault,  or  Minos,  the  famous  commentator  on 
,the  Emblems  :of  Andreas  Alciatus,  in  his  Tract,  Concerning 
'Symbols,  C6arts"of  .Arms,  and  Emblems,—  z&s.  1581,  or  1608,  or 
/idi^-^niainfe.ms,  there  is  a  clear  distinction  between  emblems 
and  symbols,  which,  as  he  affirms,  "  many  persons  rashly  and 
ignorantly  confound  together."  f  "  We  confess,"  he  adds,  "  that 
the  force  of  the  Emblem  depends  upon  the  Symbol  :  but  they 
differ,  I  say,  as  Man  and  Animal  ;  for  people  who  have  any 
judgment  at  all  know,  that  here  of  a  certainty  the  latter  is  taken 
more  generally,  the  former  more  specially."  Mignault's  mean- 
ing may  be  carried  out  by  saying,  that  all  men  are  animals,— 
but  all  animals  are  not  men  ;  so  all  emblems  are  symbols, 
tokens,  or  signs,  but  all  symbols  are  not  emblems  ;  —  the  two 


*  See  the  Olympica,  12.  IO  :  "  av^oXov  irunov  a/x(/>l  7rpa|tos  eVo/xe'j/Tjs."  Also 
^Eschylus,  Agamemnon,  8:  "/col  vvv  <j)v\dffcr(a  A.a/i7ra8os  rJ>  <ru/u/3oA.oj/." 

*f  Syntagma  De  Symbolis,  drv.,  per  Clavdivm  Minoem,  Lvgdvni,  M.DC.XIII. 
p.  13  :  "Plerique  sunt  non  satis  acuti,  qui  Emblema  cum  Symbolo,  cum  ^nigmate, 
cum  Sententia,  cum  Adagio,  temere  &  imperite  confundunt.  Faiemur  Emblematis 
quidem  vim  in  symbolo  sitam  esse  :  sed  differunt,  inquam,  vt  Homo  &  Animal  : 
alterum  enim  hie  maxime  generalius  accipi,  specialius  vero  alterum  norut  omnes  qui 
aliquid  indicii  habeant." 


CHAP.  I.] 


EARLY  EXAMPLES. 


possess  affinity  but  not    identity, — they  have  no  absolute  con- 
vertibility of  the  one  for  the  other. 

An  example  of  Emblem  and  Symbol  united  occurs  in 
Symeoni's  Dedication  *  "  To  Madame  Diana  of  Poitiers, 
Dutchess  of  Valentinois ;" 
for  Emblem,  there  are 
"  picture  and  short  posie  " 
expressing  the  particular 
conceit,  "  Quodcunque 
petit,  consequitur,"  -  -  She 
attains  whatever  she  seeks ; 
and  for  Symbols,  or  signs, 
the  sun,  the  temple,  the 
dogs,  the  arrow,  and  the 
stag ;  and  for  exposition, 
the  stanza ; 

"  Sante  le  Muse  son,  santa  e  Diana, 
Caste  son  quelle,  et  casta  e  qitcsta  anchora. 
Dalle  Muse  il  Sol  mai  non  /  allontana, 
Et  d"1  Apollo  Diana  vnica  e  suora. 
Nelle  Muse  £  d"  Amore  ogni  arte  vana, 
Et  de  i  lacci  d*  Amor  Diana  e  fuora. 
Chifia  Diana  quel  dnnque  che  dica, 
Che  voi  non  siete  delle  Muse  ainica  ?  " 

Thus  metrically  rendered, 

"  Holy  the  Muses  are,  holy  is  Diana, 
Chaste  are  they,  and  chaste  also  is  she. 
From  the  Muses  the  Sun  indeed  moves  not  afar, 
And  alone  of  Apollo  Diana  is  sister. 
Against  the  Muses  Love's  every  art  is  vain, 
And  free  is  Diana  from  all  snares  of  Love. 
Who  then  is  the  Diana  that  says, 
That  you  are  not  a  friend  of  the  Muses  ?" 


BIAHAE-VALE 
KINAE  •  S 


*  "LA  VITA  ET  METAMORFOSEO  :"  "A  Lione,  per  Giouanni  di  Tornes,"  8vo, 

1559,  PP.  2,  3. 


4  EMBLEMS  :  [CHAP.  I. 

The  word  emblem,  e///3A?7jua,  is  one  that  has  strayed  very 
widely  from  its  first  meaning,  and  yet  by  a  sort  of  natural 
process,  as  the  apple  .grows  out  of  the  crab,  its  signification  now 
is  akin  to  what  it  was  in  distant  ages.  It  then  denoted  the 
thing,  whether  implement  or  ornament,  placed  in,  or  thrown  on, 
and  so  joined  to,  some  other  thing.  Thus  a  word  of  cognate 
origin,  Epibles,  in  the  Iliad,  bk.  xxiv.  1.  453,*  denoted  the  bolt 
of  fir  that  held  fast  the  door  ;  —  it  was  something  put  against  the 
door,  —  the  peg  or  bar  that  kept  it  from  opening.  So  in  the 
Odyssey,  bk.  ii.  1.  37,  f  the  sceptre,  the  emblem  of  command, 
was  the  baton  which  the  herald  Peisenor  placed  in  the  hand  of 
the  son  of  Ulysses  ;  and  again  in  the  Iliad,  bk.  xiii.  1.  319,  20,  \ 
the  flaming  torch  was  the  implement  which  the  son  of  Kronos 
might  throw  on  the  swift  ships. 

Of  the  changes  through  which  a  word  may  pass,  "  the  word 
Emblem  presents  one  of  the  most  remarkable  instances."  They 
cannot  be  better  given  than  in  the  "  Sketch  of  that  branch  of 
Literature  called  BOOKS  OF  EMBLEMS,"  read  in  1848  before 
the  Literary  and  Philosophical  Society  of  Liverpool,  by  the  late 
Joseph  Brooks  Yates,  Esq.  He  says  of  the  word  EMBLEM, 
pp.  8,  9,  —  "  its  present  signification,  '  Type  or  allusive  represen- 
tation/ is  of  comparatively  modern  use,  while  its  original 
meaning  is  become  obsolete.  Among  the  Greeks  an  Emblem 
(e/i/3Ar]/xa),  derived  from  er/3aAA€tz>,  meant  something  thrown  in  or 
inserted  after  the  fashion  of  what  we  now  call  Marquetry  and 
Mosaic  work,  or  in  the  form  of  a  detached  ornament  to  be  affixed 
to  a  pillar,  a  tablet,  or  a  vase,  and  put  off  or  on,  as  there  might 
be  occasion.  Pliny,  in  his  Natural  History"  bk.  xxxiii.  c.  12, 


"  Qvpf]v  8'  e^e  fjLovvos 


eViTrpfjcra/,  '6re  /j.r]  avrta  76  Kpovioof 
i]f(T(rt  Oorjviv" 


CHAP.  I. ]  EARLY    EXAMPLES.  5 

"  mentions  an  artist  called  Pytheus,  who  executed  works  of  this 
last  description  in  silver,  one  of  which,  intended  to  be  attached 
to  a  jar  (in  phialse  emblemate),  represented  Ulysses  and  Diomed 
carrying  off  the  Palladium.*  It  weighed  two  ounces,  and  sold 
for  10,000  sesterces  =  So/.  14^.  yd.  of  our  money.  According  to 
one  ancient  manuscript  of  Pliny,  it  sold  for  double  that  amount. 
Marcus  Curtius  leaping  into  the  gulph  forms  the  subject  of  a 
beautiful  silver  Emblem,  in  the  possession  of  the  writer,  f  When 
the  arts  of  Greece  were  transplanted  into  Italy  and  Sicily,  the 
word  Emblcma  became  naturalised  in  the  Latin  tongue,  though 
not  without  some  resistance  on  the  part  of  the  reigning  prince 
Tiberius.  That  emperor  is  reported  by  Suetonius,"  Tiber.  Ccesar 
Vita,  c.  71,  "to  have  found  fault  with  the  introduction  of  the 
word  into  a  Decree  of  the  Senate,  as  being  of  foreign  growth. 
Cicero,  however,  had  used  it  in  his  orations  against  Verres,  where 
he  accuses  that  rapacious  governor  (amongst  other  crimes)  of 
having  compelled  the  people  of  Haluntium  to  bring  to  him  their 
vases,  from  which  he  carefully  abstracted  the  valuable  Emblems 
and  inserted  them  upon  his  own  golden  vessels.  Quintilian," 
lib.  2,  cap.  4,  "  soon  after  this  period,  in  enumerating  the  arts  of 
oratory  used  by  the  pleaders  of  his  day,  describes  some  of  them 
as  in  the  habit  of  preparing  and  committing  to  memory  certain 
highly  finished  clauses,  to  be  inserted  (as  occasion  might  arise) 
like  Emblems  in  the  body  of  their  orations."  \ 

"  Such  was  the  meaning  of  the  term  in  the  classical  ages  of 
Greece  and  Rome  ;  nor  was  its  signification  altered  until  some 
time  after  the  revival  of  literature  in  the  fifteenth  century." 

Our  own  Geoffrey  Whitney,  deriving,  as   he  does  the  other 

*  Philemon  Holland  names  the  work  of  art,  "  A  broad  goblet  or  standing  piece," 
— "  ivith  a  device  appendant  to  //,  for  to  be  set  on  and  taken  off  with  a  vice." 

t  Now  the  property  of  his  grandson,  Mr.  Henry  Yates  Thompson,  of  Thingwall, 
near  Liverpool. 

+  Quidam  ....  scriptos  eos  (scilicet  locos)  memoriseque  diligentissime 
mandates,  inpromptu  habuerent,  ut  quoties  esset  occasio,  extemporales  eorum 
dictiones,  his,  velut  Emblematibus  exornarentur. " — Quint.  Lib.  2,  cap.  4. 


6  EMBLEMS :  [CHAP.  I. 

parts  of  his  Choice  of  Emblemes  from  the  writers  on  the  subject 
that  preceded  him,  gives  very  exactly  the  same  explanation  as 
Mr.  Yates.  In  his  address  "  To  the  Reader  "  (p.  2)  he  says  ;— 
"  It  resteth  now  to  shewe  breeflie  what  this  worde  Embleme 
signifieth,  and  whereof  it  commeth,  which  thoughe  it  be  bor- 
rowed of  others,  &  not  proper  in  the  Englishe  tonge,  yet  that 
which  it  signifieth  :  Is,  and  hathe  bin  alwaies  in  vse  amongst  vs, 
which  worde  being  in  Greek  eju/3aAAeo-0cu,  vel  e7reju/3Arjo-0ai  is  as 
muche  to  saye  in  Englishe  as  To  set  in,  or  to  put  in  :  properlie 
ment  by  suche  figures,  or  workes  ;  as  are  wroughte  in  plate,  or  in 
stones  in  the  pauementes,  or  on  the  waules,  or  suche  like,  for  the 
adorning  of  the  place  :  hauinge  some  wittie  deuise  expressed 
with  cunning  woorkemanship,  somethinge  obscure  to  be  per- 
ceiued  at  the  first,  whereby,  when  with  further  consideration  it  is 
vnderstood,  it  maie  the  greater  delighte  the  behoulder.  And 
althoughe  the  worde  dothe  comprehende  manie  thinges,  and 
diuers  matters  maie  be  therein  contained  ;  yet  all  Emblemes  for 
the  most  parte,  maie  be  reduced  into  these  three  kindes,  which 
is  Historically  Naturally  &  MoralL  Historically  as  representing 
the  actes  of  some  noble  persons,  being  matter  of  historic.  Natu- 
rally as  in  expressing  the  natures  of  creatures,  for  example,  the 
loue  of  the  yonge  Storkes,  to  the  oulde,  or  of  suche  like.  Morally 
pertaining  to  vertue  and  instruction  of  life,  which  is  the  chiefe  of 
the  three,  and  the  other  two  maye  bee  in  some  sorte  drawen  into 
this  head.  For,  all  doe  tende  vnto  discipline,  and  morall  pre- 
ceptes  of  liuing.  I  mighte  write  more  at  large  hereof,  and  of  the 
difference  of  Emblema,  Symbolum,  &  ^Enigmat  hauinge  all  (as  it 
weare)  some  amnitie  one  with  the  other.  But  bicause  my  mean- 
ing is  to  write  as  briefely  as  I  maie,  for  the  auoiding  of  tedious- 
nes,  I  referre  them  that  would  further  inquire  therof,  to  And. 
AlciatuSy  Guiliel.  Perrerius,  Achilles  Bocchius  &  to  diuers  others 
that  haue  written  thereof,  wel  knowne  to  the  learned.  For  I 
purpose  at  this  present,  to  write  onelie  of  this  worde  Embleme  : 


CHAP.  L]  EARL  Y  EXAMPLES.  7 

Bicause  it  chieflie  doth  pertaine  vnto  the  matter  I  haue  in  hande, 
whereof  I  hope  this  muche,  shall  giue  them  some  taste  that 
weare  ignoraunt  of  the  same." 

Whitney's  namesake,  to  whom  flattering  friendship  compared 
him,  Geoffrey  Chaucer,  gives  us  more  than  the  touch  of  an 
Emblem,  when  he  describes,  in  the  Canterbury  Tales,  1.  159-63, 
the  dress  of  "  a  Nonne,  a  Prioresse," — 

"  Of  smale  corall  aboute  hire  arm  she  bare 
A  pair  of  bedes,  gauded  all  with  grene  ; 
And  theron  heng  a  broche  of  gold  ful  shene, 
On  whiche  was  first  ywritten  a  crouned  A, 
And  after,  Amor  vincit  omnia"* 

So  the  "Cristofre,"  which  the  Yeoman  wore,  1.  115, 
"  A  Cristofre  on  his  brest  of  silver  shene," 

was  doubtless  a  true  Emblem,  to  be  put  on,  and  taken  off,  as 
occasion  served, — and  was  probably  a  cross  with  the  image  of 
Christ  upon  it :  and  if  pictured  forth  according  to  the  description 
in  The  Legend  of  Good  Women,  1.  1196-8,  an  emblematical  device 
was  exhibited,  where 

"  With  saddle  redde,  embrouded  with  delite 
Of  gold  the  barres,  up  enbossed  high, 
Sate  Dido,  all  in  gold  and  perrie  wrigh." 

This  form,  the  natural  form  of  the  Emblem,  we  may  illustrate 
from  a  Greek  coin,  figured  in  Eschenburg's  Manual  of  Classical 
Literature,  by  Fisk,  ed.  1844,  pi.  xl.  p.  351. 

The  Flying  Horse  and  other  ornaments  of  this  coin  on  the 
helmet  of  Minerva  are  Emblems, — and  so  are  the  owl,  the 
olive  wreath,  and  the  amphora,  or  two-handled  vase.  Were  these 

*  So  the  note  in  illustration  quotes  from  Gower,  Con/.  Am.  f.  190, 

"  Upon  the  gaudees  all  without 
Was  wryte  of  gold,  pur  reposer" 


8  EMBLEMS:  [CHAP.  I. 

independent  castings  or  mouldings,  to  be  put  on  or  taken  off, 
they  would  be  veritable  emblems  in  the  strict  literal  sense  of 
the  word. 


Spenser's  ideas  of  devices  and  ornaments  correspond  to  this 
meaning.  Mercilla,  the  allegorical  representation  of  the  sove- 
reign Elizabeth,  is  described  as 

"  that  gratious  Queene  : 

Who  sate  on  high,  that  she  might  all  men  see 
And  might  of  all  men  royally  be  seene, 
Upon  a  throne  of  gold  full  bright  and  sheene, 
Adorned  all  with  gemmes  of  endless  price, 
As  either  might  for  wealth  have  gotten  beene, 
Or  could  be  fram'd  by  workman's  rare  device 
And  all  embost  with  lyons  and  with  flour  de  lice." 

Faerie  Queene,  v.  9.  27. 

In  Cymbeline,  Shakespeare  represents  lachimo,  act  i.  sc.  6, 
1.  1 88,  9,  describing  "  a  present  for  the  emperor  ; " 

"  'Tis  plate,  of  rare  device  ;  and  jewels 
Of  rich  and  exquisite  form  ;  their  values  great." 

So  Spenser,  Faerie  Queene,  iv.  4.  15,  sets  forth,  "a  precious 
rebeke  in  an  arke  of  gold,"  as 

"  A  gorgeous  Girdle,  curiously  embost 
With  pearle  and  precious  stone,  worth  many  a  marke  ; 
Yet  did  the  workmanship  farre  passe  the  cost." 


CHAP.  I.]  EARLY   EXAMPLES.  9 

In  the  literal  use  of  the  word  emblem  Shakespeare  is  very 
exact.  Parolles,  All's  Well,  act  ii.  sc.  I,  1.  40,  charges  the 
young  lords  of  the  French  court,  as 

"  Noble  heroes,  my  sword  and  yours  are  kin  ;"  and  adds,  "  Good  sparks 
and  lustrous,  a  word,  good  metals :  you  shall  find  in  the  regiment  of  the 
Spinii  one  Captain  Spurio,  with  his  cicatrice,  an  emblem  of  war,  here  on  his 
sinister  cheek  ;  it  was  this  very  sword  entrenched  it." 

The  Coronation  Scene  in  Henry  VIII.,  act  iv.  sc.  i,  1.  81 — 92, 
describes  the  solemnities,  when  Anne  Bullen,  "  the  goodliest 
woman  that  ever  lay  by  man," 

"  with  modest  paces 

Came  to  the  altar ;  where  she  kneel'd,  and  saint-like 
Cast  her  fair  eyes  to  heaven,  and  pray'd  devoutly:" 

Each  sacred  rite  is  then  observed  towards  her ; — 

"  She  had  all  the  royal  makings  of  a  queen  ; 
As  holy  oil,  Edward  Confessor's  crown, 
The  rod,  and  bird  of  peace,  and  all  such  emblems 
Lay'd  nobly  on  her." 

And  down  to  Milton's  time  the  original  meaning  of  the  word 
Emblem  was  still  retained,  though  widely  departed  from  as  used 
by  some  of  the  Emblem  writers.  Thus  he  pictures  the  "  blissful 
bower"  of  Eden,  bk.  iv.  1.  697 — 703,  Paradise  Lost, 

"  each  beauteous  flower, 
Iris  all  hues,  roses,  and  jessamin, 

Rear'd  high  their  flourish'd  heads  between,  and  wrought 
Mosaic  :  underfoot  the  violet, 
Crocus,  and  hyacinth,  with  rich  inlay 
Broider'd  the  ground,  more  colour'd  than  with  stone 
Of  costliest  emblem." 

Thus,  in  their  origin,  Emblems  were  the  figures  or  ornaments 
fashioned  by  the  tools  of  the  artists,  in  metal  or  wood,  indepen- 
dent of  the  vase,  or  the  column,  or  the  furniture,  they  were  in- 
tended to  adorn;  they  might  be  affixed  or  detached  at  the 


io  EMBLEMS:  [CHAP.  T. 

promptings  of  the  owner's  fancy.  Then  they  were  formed,  as  in 
mosaic,  by  placing  side  by  side  little  blocks  of  coloured  stone,  or 
tiles,  or  small  sections  of  variegated  wood.  Raised  or  carved 
figures,  however  produced,  came  next  to  be  considered  as 
Emblems  ;  and  afterwards  any  kind  of  figured  ornament,  or 
device,  whether  carved  or  engraved,  or  simply  traced,  on  the 
walls  and  floors  of  houses  or  on  vessels  of  wood,  clay,  stone,  or 
metal.  These  ornaments  were  sometimes  like  the  raised  work 
on  the  Warwick  and  other  vases,  and  formed  a  crust  which 
made  a  part  of  the  vessel  which  they  embellished ;  but  at  other 
times  they  were  devices,  drawings  and  carvings  on  a  framework 
which  might  be  detached  from  the  cup  or  goblet  on  which  the 
owner  had  placed  them,  and  be  applied  to  other  uses.* 

We  may  here  remark,  since  embossed  ornaments  and  sculp- 
tured figures  on  any  plain  surface  are  essentially  Emblems,  the 
sculptor,  the  engraver,  the  statuary  and  the  architect,  indeed  all 
workers  in  wood,  metal,  or  stone,  who  embellish  with  device  or 
symbol  the  simplicity  of  nature's  materials,  are  especially  en- 
titled to  take  rank  in  the  fraternity  of  the  Emblematists.  They 
and  their  patrons,  the  whole  world  of  the  civilized  and  the 
intellectual,  are  not  content  with  the  beam  out  of  the  forest,  or 
with  the  marble  from  the  quarry,  or  with  even  the  gold  from  the 
mine.  In  themselves  cedar,  marble  and  gold  are  only  forms  of 
brute  and  unintelligent  nature, — and  therefore  we  impose  upon 
them  signs  of  deep-seated  thoughts  of  the  heart  and  devices  of 
wondrous  meaning,  and  out  of  the  rocks  call  forth  sermons, 
and  lessons  and  parables,  and  highly  spiritual  suggestions.  On 
the  very  shrines  of  God  we  place  our  images  of  corruptible 
things, — but  then  the  soul  that  rightly  reads  the  images  lifts 
them  out  of  their  corruptibility  and  makes  them  the  teachers  of 
eternal  truths. 

*  See  Smith's  Dictionary  of  Gk.  and  Rom.  Ant.,  p.  377  b,  article  EMBLEMA. 


CHAP.  I.]  EARLY   EXAMPLES.  n 

The  domains  of  the  statuary  and  of  the  architect  are  how- 
ever too  vast  to  be  entered  upon  by  us,  except  with  a  passing 
glance ;  they  are  like  Philosophy  ;  it  is  all  Natural, — and  yet 
wisely  men  map  it  out  into  kingdoms  and  divisions,  and  pursue 
each  his  selected  work. 

So  we  remember  it  is  not  the  Universe  of  Emblematism  we 
must  attempt,  even  though  Shakespeare  should  lend  us 

"  The  poet's  eye,  in  a  fine  frenzy  rolling, 
To  glance  from  heaven  to  earth,  from  earth  to  heaven  ; 
And  as  imagination  bodies  forth 
The  forms  of  things  unknown," 

should  add  the  gift  of  "  the  poet's  pen,"  so  that  we  might 

"  Turn  them  to  shapes,  and  give  to  airy  nothing 
A  local  habitation  and  a  name." 

Midsummer  Nighfs  Dream,  act  v.  sc.  i.  1.  12 — 17. 

Our  business  is  only  with  that  comparatively  small  section  of 
the  Emblem-World,  which,  "  like  mummies  in  their  cerements," 
is  wrapped  up  within  the  covers  of  the  so  called  Emblem-books. 
Whether,  when  they  are  unrolled,  they  are  worth  the  search  and 
the  labour,  some  may  doubt ; — but  perchance  a  scarabaeus,  or  an 
emerald,  with  an  ancient  harp  upon  it,  may  reward  our  patience. 

By  a  very  easy  and  natural  step,  figures  and  ornaments  of 
many  kinds,  when  placed  on  smooth  surfaces,  were  named 
emblems  ;  and  as  these  figures  and  ornaments  were  very  often 
symbolical,  i.  c.,  signs,  or  tokens  of  a  thought,  a  sentiment,  a 
saying,  or  an  event,  the  term  emblem  was  applied  to  any  paint- 
ing, drawing,  or  print  that  was  representative  of  an  action,  of  a 
quality  of  the  mind,  or  of  any  peculiarity  or  attribute  of  cha- 
racter.* "  Emblems  in  fact  were,  and  are,  a  species  of  hiero- 

*  See  the  Author's  Introductory  Dissertation,  p.  x,  to  the  Fac- simile  Reprint  of 
Whitney's  Emblems. 


12! 


EMBLEMS: 


[CHAP.   I. 


glyphics,  in  which  the  figures  or  pictures,  besides  denoting  the 
natural  objects  to  which  they  bear  resemblances,  were  employed 
to  express  properties  of  the  mind,  virtues  and  abstract  ideas,  and 
all  the  operations  of  the  soul." 

Thus,  the  Tablet  of  Cebes,  a  work  by  one  of  the  disciples  of 
Socrates,  about  B.C.  390,  is  an  explanation,  in  the  form  of  a 
Dialogue,  of  a  picture,  said  to  have  been  set  up  in  the  temple 

Cafcula  ©efcetfc  jrtjitojsiopfn  50= 

cratici-cu  lohanis  Aefticapiani  Epiftola. 


7V//'.  Ccbetis,  1507. 


N 

I 


I 


CHAP.  L]  EARLY  EXAMPLES.  13 

of  Kronos  at  Athens  or  at  Thebes,  and  which  was  declared  to  be 
emblematical  of  Human  Life. 

One  of  the  older  Latin  versions,  printed  in  1507,  presents  the 
foregoing  illustrative  frontispiece. 

As  the  book  has  come  down  to  modern  times  it  is,  generally, 
what  has  sometimes  been  named,  nudum  Emblema,  a  naked 
Emblem,  because  it  has  neither  device  nor  artistic  drawing,  but, 
like  Shakespeare's  comparison  of  all  the  world  to  a  stage  in  which 
man  plays  many  parts,  the  course  of  Life,  with  its  discipline,  false 
hopes  and  false  pleasures,  is  in  the  Tablet  so  described, — in 
fact  so  delineated,*  as  to  have  enabled  the  Dutch  designer  and 
engraver,  Romyn  de  Hooghe,  in  1670,  to  have  pictured  "the 
whole  story  of  Human  Life  as  narrated  to  the  Grecian  sage." 

The  Moral  of  the  Allegory  may  not  be  set  forth  with  entire 
clearness  in  the  picture,  but  it  can  be  given  in  the  words  of  one  of 
the  Golden  Sentences  of  Democritus, —  see  Gale's  Opus.  MytJiol. : — 

"  That  human  happiness  does  not  result  from  bodily  excellencies  nor  from 
riches,  but  is  founded  on  uprightness  of  mind  and  on  righteousness  of 
conduct." 

Coins  and  medals  furnish  most  valuable  examples  of  emble- 
matical figures ;  indeed  some  of  the  Emblem  writers,  as  Sam- 
bucus  in  1564,  were  among  the  earliest  to  publish  impressions 
or  engravings  of  ancient  Roman  money,  on  which  are  frequently 
given  very  interesting  representations  of  customs  and  symbolical 
acts.  On  Grecian  coins,  which  Priestley,  in  his  Lectures  on  His- 
tory, vol.  i.  p.  126, — highly  praises  for  "a  design,  an  attitude, 
a  force,  and  a  delicacy,  in  the  expression  even  of  the  muscles 
and  veins  of  human  figures," — we  find,  to  use  heraldic  language, 
that  the  owl  is  the  crest  of  Athens, — a  wolf's  head,  that  of 
Argos, — and  a  tortoise  the  badge  of  the  Peloponnesus.  The 
whole  history  of  Louis  XIV.  and  that  of  his  great  adversary, 

*  See  Plate  I.,  containing  De  Hooghe's  engraving,  reproduced  on  a  smaller  scale. 


14  EMBLEMS:  [CHAP.  I. 

William  III.,  are  represented  in  volumes  containing  the  medals 
that  were  struck  to  commemorate  the  leading  events  of  their 
reigns,  and  though  outrageously  untrue  to  nature  and  reality  by 
the  adoption  of  Roman  costumes  and  classic  symbols,  they  serve 
as  records  of  remarkable  occurrences. 

Heraldry  throughout  employs  the  language  of  Emblems  ; — it 
is  the  picture-history  of  families,  of  tribes  and  of  nations,  of 
princes  and  emperors.  Many  a  legend  and  many  a  strange 
fancy  may  be  mixed  up  with  it  and  demand  almost  the  credulity 
of  simplest  childhood  in  order  to  obtain  our  credence  ;  yet  in  the 
literature  of  Chivalry  and  Honours  there  are  enshrined  abundant 
records  of  the  glory  that  belonged  to  mighty  names.  I  recall 
now  but  one  instance.  In  the  fine  folio  lately  emblazoned  with 
the  well-known  motto  "  GANG  FORWARD,"  "  I  AM  READY,"  what 
volumes,  to  those  who  can  interpret  each  mark  and  sign  and 
tutored  symbol,  are  wrapped  up  in  the  Examples  of  the  orna- 
mental Heraldry  of  the  sixteenth  Century :  London,  1867,  1868. 

The  custom  of  taking  a  device  or  badge,  if  not  a  motto,  is 
traced  by  Paolo  Giovio,  in  his  Dialogo  deW  Imprese  militari  et 
amorose,  ed.  1574,  p.  9,*  to  the  earliest  times  of  history.  He 
writes, 

"  To  bear  these  emblems  was  an  ancient  usage."  Gio.  "  It  is  a  point  not 
to  be  doubted,  that  the  ancients  used  to  bear  crests  and  ornaments  on  the 
helmets  and  on  the  shields  :  for  we  see  this  clearly  in  Virgil,  when  he  made 
the  catalogue  of  the  nations  which  came  in  favour  of  Turnus  against  the 
Trojans,  in  the  eighth  book  of  the  ^Eneid ;  Amphiaraus  then  (as  Pindar 
says)  at  the  war  of  Thebes  bore  a  dragon  on  his  shield.  Similarly  Statius 
writes  of  Capaneus  and  of  Polinices,  that  the  one  bore  the  Hydra,  and  the 
other  the  Sphynx,"  &c. 


*  "  //  portar  quests  imprese  fu  costume  antico,  Gio.  Non  2  punto  da  dubitare, 
che  gli  antichi  vsassero  di  portar  Cimieri  6°  ornamenti  ne  gli  elmetti  e  ne  gli  scudi : 
perche  si  vede  chiaramete  in  Vergil,  quado  fa  il  Catalogo  delli  gentt,  che  venero  in 
fauore  di  Turno  contra  i  Troiani,  nelV  ottauo  delV  Eneida  ;  Anfiarao  ancora  (come  dice 
Pindaro)  alia  guerra  di  Thebe  porto  vn  dragone  nello  scudo.  Statio  scriue  similmente 
di  Capaneo  &=  di  Polinice ;  che  quelli  portb  V  Hidra,  e  queste  la  Sfinge,"  &c. 


CHAP.  L] 


EARLY   EXAMPLES. 


But  these  were  simple  emblems,  without  motto  inscribed. 
The  same  Paolo  Giovio,  and  other  writers  after  him,*  assign  both 
"  picture  and  short  posie,"  to  two  of  the  early  Emperors  of  Rome. 

"  Augustus,  wishing  to  show  how  self-governed  and  moderate  he  was  in 
all  his  affairs,  never  rash  and  hasty  to  believe  the  first  reports  and  informations 
of  his  servants,  caused  to  be  struck,  among  several  others,  on  a  gold  medal  of 
his  own,  a  Butterfly  and  a  Crab,  signifying  quickness  by  the  Butterfly,  and 
by  the  Crab  slowness,  the  two  things  which  constitute  a  temperament 
necessary  for  a  Prince." 

The  motto,  as  figured  below, — "  MAKE  HASTE  LEISURELY." 
AVGVSTE. 


Symeon,  Dev.  Her.  1561. 


The  Device  is  thus  applied  in  Whitney's  Emblems,  p.   121, 
and  dedicated  to  two  eminent  judges  of  Elizabeth's  reign  ; 


See  Gabriel  Symeon's  Devises  ov  Emblemes  Heroiqves  et  Morales,  ed.  k  Lyon, 

I56l,  pp.  2l8,  219,  220. 


i6 


EMBLEMS: 


[CHAP.  I. 


"  This  figure,  lo,  AVGVSTVS  did  deuise, 
A  mirror  good,  for  Judges  iuste  to  see, 
And  alwayes  fitte,  to  bee  before  their  eies, 
When  sentence  they,  of  life,  and  deathe  decree  : 
Then  muste  they  haste,  but  verie  slowe  awaie, 
Like  butterflie,  whome  creepinge  crabbe  dothe  staic. 

"  The  Prince,  or  Judge,  maie  not  with  lighte  reporte, 
In  doubtfull  thinges,  giue  iudgement  touching  life  : 
But  trie,  and  learne  the  truthe  in  euerie  sorte, 
And  mercie  ioyne,  with  Justice  bloodie  knife  : 
This  pleased  well  AVGVSTVS  noble  grace, 
And  Judges  all,  within  this  tracke  shoulde  trace." 

The  other  is  the  device  which  the  Aldi,  celebrated  printers  of 
Venice,  from  A.D.  1490  to  1563,  assumed,  of  the  dolphin  and 


Symeoni. 

anchor,  but  which  Titus,  son  of  Vespasian,  had  long  before 
adopted,  with  the  motto  "PROPERA  TARDE,"*  Hasten  slowly: 
"facendo"  says  Symeoni,  "vna  figura  moderata  della  velocita  di 
questo,  e  della  grauezza  di  queW  altra,  nel  modo  che  noi  veggiamo 
dinanzi  a  i  libri  d'  Aldo" 

*  See  Paolo  Giovio's  Dialogo,  p.  10,  and  Symeon's  Devises  Heroiques,  p.  220. 
Also  Le  Imprese  del.  S.  Gab.  Symeoni,  ed.  in  Lyone  1574;  from  which,  p.  175,  the 
above  device  is  figured. 


CHAP.  I.]  EARLY   EXAMPLES.  17 

But  the  heraldry  of  mankind  is  a  boundless  theme,  and  we 
might  by  simple  beat  of  drum  heraldic  collect  almost  a  countless 
host  of  crests,  badges,  and  quarterings  truly  emblematical,  and 
adopted  and  intended  to  point  out  peculiarities  or  remarkable 
events  and  fancies  in  the  histories  of  the  coat-armour  families  of 
the  world. 

The  emblematism  of  bodily  sign  or  action  constitutes  the 
language  of  the  dumb.  An  amusing  instance  occurs  in  the 
Abbe  Blanchet's  "APOLOGUES  ORIENTAUX,"  in  his  description 
of  "  The  Silent  Academy,  or  the  Emblems  :  "- 

"  There  was  at  Hamadan,  a  city  of  Persia,  a  celebrated  academy,  of  which 
the  first  statute  was  conceived  in  these  terms  ;  The  academicians  shall  think 
much,  write  little,  and  speak  the  very  least  that  is  possible.  It  was  named 
the  silent  Academy  ;  and  there  was  not  in  Persia  any  truly  learned  man  who 
had  not  the  ambition  of  being  admitted  to  it.  Dr.  Zeb,  an  imaginary  person, 
author  of  an  excellent  little  work,  THE  GAG,  learned,  in  the  retirement  of 
the  province  where  he  was  born,  there  was  one  place  vacant  in  the  silent 
Academy.  He  sets  out  immediately  ;  he  arrives  at  Hamadan,  and  presenting 
himself  at  the  door  of  the  hall  where  the  academicians  are  assembled,  he 
prays  the  servant  to  give  this  billet  to  the  president :  Dr.  Zeb  asks  humbly 
the  vacant  place.  The  servant  immediately  executed  the  commission,  but 
the  Doctor  and  his  billet  arrived  too  late, — the  place  was  already  filled. 

"  The  Academy  was  deeply  grieved  at  this  disappointment ;  it  had 
admitted,  a  little  against  its  wish,  a  wit  from  the  court,  whose  lively  light 
eloquence  formed  the  admiration  of  all  ruelles*  The  Academy  saw  itself 
reduced  to  refuse  Doctor  Zeb,  the  scourge  of  praters,  with  a  head  so  well 
formed  and  so  well  furnished  !  The  president,  charged  to  announce  to 
the  Doctor  the  disagreeable  news,  could  scarcely  bring  himself  to  it,  and 
knew  not  how  to  do  it.  After  having  thought  a  little,  he  filled  a  large  cup 
with  water,  but  so  well  filled  it,  that  one  drop  more  would  have  made  the 
liquid  overflow  ;  then  he  made  sign  that  the  candidate  should  be  intro- 
duced. He  appeared  with  that  simple  and  modest  air  which  almost  always 
announces  true  merit.  The  president  arose  and,  without  offering  a  single 
word,  showed,  with  an  appearance  of  deep  sorrow,  the  emblematic  cup, 
this  cup  so  exactly  filled.  The  Doctor  understood  that  there  was  no  more 

*  i.e.,  the  space  left  between  one  of  the  sides  of  a  bed  and  the  wall.  Employed 
figuratively,  this  word  relates  to  a  custom  which  has  passed  away,  when  people  betook 
themselves  to  the  alcove  or  sleeping  room  of  their  friends  to  enjoy  the  pleasure  of 
conversation. 


1 8  EMBLEMS:  [CHAP.  I. 

room  in  the  Academy ;  but  without  losing  courage,  he  thought  how  to 
make  it  understood  that  one  supernumerary  academician  would  disarrange 
nothing.  He  sees  at  his  feet  a  roseleaf,  he  picks  it  up,  he  places  it  gently  on 
the  surface  of  the  water,  and  did  it  so  well  that  not  a  single  drop  escaped. 

"  At  this  ingenious  answer  everybody  clapped  hands  ;  the  rules  were 
allowed  to  sleep  for  this  day,  and  Doctor  Zeb  was  received  by  acclamation. 
The  register  of  the  Academy  was  immediately  presented  to  him,  where  the 
new  members  must  inscribe  themselves.  He  then  inscribed  himself  in  it ; 
arid  there  remained  for  him  no  more  than  to  pronounce,  according  to  custom, 
a  phrase  of  thanks.  But  as  a  truly  silent  academician,  Doctor  Zeb  returned 
thanks  without  saying  a  word.  He  wrote  in  the  margin  the  number  100, — it 
was  that  of  his  new  brethren  ;  then,  by  putting  a  o  before  the  figures,  oioo, 
he  wrote  below,  they  are  worth  neither  less  nor  more.  The  president 
answered  the  modest  Doctor  with  as  much  politeness  as  presence  of  mind. 
He  placed  the  figure  I  before  the  number  100,  i.e.  1 100  ;  and  he  wrote,  they 
will  be  worth  eleven  times  more." 

The  varieties  in  the  Emblems  which  exist  might  be  pursued 
from  "  the  bird,  the  mouse,  the  frog,  and  the  four  arrows,"  which, 
the  Father  of  history  tells  us,*  the  Scythians  sent  to  Darius,  the 
invader  of  their  country, — through  all  the  ingenious  devices  by 
which  the  initiated  in  secret  societies,  whether  political,  social,  or 
religious,  seek  to  guard  their  mysteries  from  general  knowledge 
and  observation, — until  we  come  to  the  flower-language  of  the 
affections,  and  learn  to  read,  as  Hindoo  and  Persian  maidens 
can,  the  telegrams  of  buds  and  blossoms,  f  and  to  interpret  the 
flashing  of  colours,  either  simple  or  combined.  We  should  have 
to  name  the  Picture  writing  of  the  Mexicans,  and  to  declare 
what  meanings  lie  concealed  in  the  signs  and  imagery  which 

*  Herodotus,  in  the  Melpomene,  bk.  iv.  c.  131. 

•f  So  in  the  autumn  and  winter  which  preceded  Napoleon's  return  from  Elba,  the 
question  was  often  asked  in  France  by  his  adherents, — "Do  you  like  the  violet?" 
and  if  the  answer  was, — "  The  violet  will  return  in  the  spring,"  the  answer  became 
a  sure  revelation  of  attachment  to  the  Emperor's  cause.  For  full  information  on 
Flower  signs  see  Casimir  Magnat's  Traite  du  Langage  symbolique,  emblcmatique  et 
religieux  des  Fleurs.  8vo  :  A.  Touzet,  Paris,  1855.  In  illustration  take  the  lines 
from  Dr.  Donne,  at  one  time  secretary  to  the  lord  keeper  Egerton  :  — 

"  I  had  not  taught  thee  then  the  alphabet 
Of  flowers,  how  they  devisefully  being  set 
And  bound  up,  might  with  speechless  secresy 
Deliver  errands  mutely  and  mutually." — Elegy  7. 


CHAP.  I. J  EARLY   EXAMPLES.  19 

adorn  tomb  and  monument, — or  peradventure  to  set  forth  the 
art  by  which,  on  so  simple  a  material  as  the  bark  of  a  birch-tree, 
some  Indians,  on  their  journey,  emblematized  a  troop  with 
attendants  that  had  lost  their  way.  "In  the  party  there  was 
a  military  officer,  a  person  whom  the  Indians  understood 
to  be  an  attorney,  and  a  mineralogist ;  eight  were  armed : 
when  they  halted  they  made  three  encampments."  With 
their  knives  the  Indians  traced  these  particulars  on  the  bark 
by  means  of  certain  signs,  or,  rather,  hieroglyphical  marks; — 
"  a  man  with  a  sword,"  they  fashioned  "  for  the  officer ; 
another  with  a  book  for  the  lawyer,  and  a  third  with  a 
hammer  for  the  mineralogist ;  three  ascending  columns  of 
smoke  denoted  the  three  encampments,  and  eight  muskets 
the  number  of  armed  men."  So,  without  paper  or  print,  a 
not  unintelligible  memorial  was  left  of  the  company  that  were 
travelling  together. 

And  so  we  come  to  the  very  Early  Examples — if  not  the 
earliest — of  Emblematical  Representation,  as  exhibited  in  fictile 
remains,  in  the  workmanship  of  the  silversmith,  and  of  those  by 
whom  the  various  metals  and  precious  stones  have  been  wrought 
and  moulded  ;  and  especially  in  the  numerous  specimens  of  the 
skill  or  of  the  fancy  which  the  glyptic  and  other  artizans  of 
ancient  Egypt  have  left  for  modern  times. 

For  the  nature  of  Fictile  ornamentation  it  were  sufficient  to 
refer  to  the  recently  published  Life  of  Josiah  Wedg^vood  ;*  but 
in  the  antcfixce,  or  terra  cotta  ornaments,  derived  from  the  old 
Etruscan  civilisation,  we  possess  true  and  literal  Emblems.  As 
the  name  implies,  these  ornaments  "  were  fixed  before  the  build- 
ings" often  on  the  friezes  "which  they  adorned,"  and  were 


*  See  also  "REAL  MUSEO  BORBONICO,"  Napoli  Dalla  Stamperia  Reale,  1824. 
Vol.  i.  tavola  viii.  e  ix.  Avventura  e  Imprese  di  Ercoli.  Vol.  ii.  tav.  xxviii. 
Dedalo  e  Icaro.  Vol.  iii.  tav.  xlvi.  Vaso  Italo-Greco  depinto.  Vol.  v.  tav.  li. 
Vaso  Italo-Greco, — a  very  fine  example  of  emblem  ornaments  in  the  literal  sense. 


20  EMBLEMS :  [CHAP.  I. 

fastened  to  them  by  leaden  nails.  For  examples,  easy  of  access, 
we  refer  to  the  sketches  supplied  by  James  Yates,  Esq.,  of 
Highgate;  to  the  Dictionary  of  Gk.  and  Rom.  Antiquities,  p.  51  ; 
and  especially  to  that  antefixa  which  represents  Minerva  super- 
intending the  construction  of  the  ship  Argo.  The  man  with  the 
hammer  and  chisel  is  Argus,  who  built  the  vessel  under  her 
direction.  The  pilot  Tiphys  is  assisted  by  her  in  attaching  the 
sail  to  the  yard.  The  borders  at  the  top  and  bottom  are  in  the 
Greek  style,  and  are  extremely  elegant." 

And  the  pressing  of  clay  into  a  matrix  or  mould,  from  which 
the  form  is  taken,  appears  to  be  of  very  ancient  date.  The  book 
of  Job  xxxviii.  14,  alludes  to  the  practice  in  the  words,  "it  is 
turned  as  clay  to  the  seal."  Of  similar  or  of  higher  antiquity  is 
"the  work  of  an  engraver  in  stone,  like  the  engravings  of  a 
signet,"  Exodus  xxviii.  n.  And  "the  breastplate  of  judgment, 
the  Urim  and  the  Thummim,"  v.  30,  worn  "  upon  Aaron's 
heart,"  was  probably  a  similar  emblematical  ornament  to  that 
which  Diodorus  Siculus,  in  his  History,  bk.  i.  chap.  75,  tells  us 
was  put  on  by  the  president  of  the  Egyptian  courts  of  justice  : 
"He  bore  about  his  neck  a  golden  chain,  at  which  hung  an 
image,  set  about,  or  composed  of  precious  stones,  which  was 
called  TRUTH."* 

Among  instances  of  emblematical  workmanship  by  the  silver- 
smith and  his  confabricators  of  similar  crafts,  we  may  name  that 
shield  of  Achilles  which  Homer  so  graphically  describes,  f  "solid 
and  large,"  "  decorated  with  numerous  figures  of  most  skilful 
art  ; " —  or  the  shields  of  Hercules  and  of  ^Eneas,  with  which 
Hesiod,  Eoece,  iv.  141 — 317,  and  Virgil,  sEneid,  viii.  615-73, 
might  make  us  familiar.  Or  to  come  to  modern  times, — to  days 


E(£opei  8'   euros   Trepi  TOV  rpax^ov   e/c   xpvtrr/s   d\v<recas  f]prr]/j.€vov  faSiov  rwv 
coi/  \i0uv,  6  Trpoffrjyopfvov  AAH0EIAN." 

Iliad,  xviii.  478,  "  Flotet  Se  Trpcariffra  CTO.KOS  fj.eya  re  <TTif}ap6vT€, — " 
,,          ,,       482,  "Floiej  Scu'SaAa  TroAAa  iSvirjcn  ir 


CHAP.  I.]  EARLY   EXAMPLES.  21 

our  very  own, — there  is  the  still  more  precious,  the  matchless 
shield  by  Vehm,  whereon,  in  most  expressive  imagery,  are  ham- 
mered out  the  discoveries  of  Newton,  Milton's  noble  epics,  and 
Shakespeare's  dramatic  wonders.  We  may,  too,  in  passing, 
allude  to  the  richly-embossed  and  ornamented  cups  for  which 
our  swift  racers  and  grey-hounds,  and  those  "  dogs  of  war,"  our 
volunteers,  contend ;  and  the  almost  imperial  pieces  of  plate, 
such  as  the  Caesars  never  beheld,  in  which  genius  and  the  highest 
art  combine,  by  their  "  cunning  work,"  to  carve  the  deeds  and 
enhance  the  renown  of  some  of  our  great  Indian  administrators 
and  illustrious  generals  ;  these  all,  truly  "  choice  emblemes," 
intimate  the  extent  to  which  our  subject  might  lead.  But  I 
forbear  to  pursue  it,  though  scarcely  any  path  offers  greater 
temptations  for  wandering  abroad  amid  the  marvels  of  human 
skill,  and  for  considering  reverently  and  gladly  how  men  have 
been  "  filled  with  the  spirit  of  God,  in  wisdom,  and  in  under- 
standing, and  in  knowledge,  and  in  all  manner  of  workmanship." 
Exodus  xxxi.  3. 

Of  glyptic  art  the  most  ancient,  as  well  as  the  most  ample, 
remains  are  found  in  the  temples  and  the  other  monuments  of 
Egypt.  Various  modern  explorers  and  writers  have  given  very 
elaborate  accounts  of  those  remains,  and  still  are  carrying  on 
their  researches ;  but  of  old  writers  only  Clemens,  of  Alexandria, 
who  flourished  "towards  the  end  of  the  second  century  after 
Christ,"  "  has  left  us  a  full  and  correct  account  of  the  principle 
of  the  Egyptian  writing,"*  and  has  declared  what  the  subjects 
were  which  were  included  in  the  word  hieroglyphics  ;  t  and  as 


*  See  Kenrick's  Ancient  Egypt  under  the  Pharaohs,  vol.  i.  p.  291. 

f  See  the  Stromata  of  Clemens,  vi.  633,— where  we  learn  that  it  was  the  duty  of 
the  Hierogrammateis,  or  Sacred  Scribe,  to  gain  a  knowledge  of  "what  are  named 
Hieroglyphics,  which  relate  to  cosmography,  geography,  the  action  of  the  sun  and 
moon,  to  the  five  planets,  to  the  topography  of  Egypt,  and  to  the  neighbourhood  of 
the  Nile,  to  a  record  of  the  attire  of  the  priests  and  of  the  estates  belonging  to  them, 
and  to  other  things  serviceable  to  the  priests." 


22  EMBLEMS:  [CHAP.  I. 

far  as  is  known,  no  other  early  author,  except  Horapollo  of  the 
Nile,  has  written  expressly  on  the  Hieroglyphics  of  Egypt,  and 
declared  that  his  work — which  was  probably  translated  into 
Greek  in  the  reign  of  the  emperor  Zeno,  or  even  later — was 
derived  from  Egyptian  sources  ;  indeed,  was  a  book  in  the 
language  of  Egypt. 

Probably  the  best  account  we  have  of  the  author  and  of 
the  translator,  is  given  by  Alexander  Turner  Cory,  in  the 
Preface  to  his  edition  of  'Horapollo.  He  says,  pp.  viii. 
and  ix., — 

"  At  the  beginning  of  the  fifth  century,  Horapollo,  a  scribe  of  the  Egyptian 
race,  and  a  native  of  Phoenebythis,  attempted  to  collect  and  perpetuate  in 
the  volume  before  us,  the  then  remaining,  but  fast  fading  knowledge  of  the 
symbols  inscribed  upon  the  monuments,  which  attested  the  ancient  grandeur 
of  his  country.  This  compilation  was  originally  made  in  the  Egyptian  lan- 
guage ;  but  a  translation  of  it  into  Greek  by  Philip  has  alone  come  down  to 
us,  and  in  a  condition  very  far  from  satisfactory.  From  the  internal  evidence 
of  the  work,  we  should  judge  Philip  to  have  lived  a  century  or  two  later  than 
Horapollo  ;  and  at  a  time  when  every  remnant  of  actual  knowledge  of  the 
subject  must  have  vanished." 

However  this  may  be,  it  is  certainly  a  book  of  Emblems,  and 
just  previous  to  Shakespeare's  age,  and  during  its  continuance 
was  regarded  as  a  high  authority.  Within  that  time  there  were 
at  least  five  editions  of  the  work, — and  it  was  certainly  the  mine 
in  which  the  writers  of  Emblem  books  generally  sought  for  what 
were  to  them  valuable  suggestions.  The  edition  we  have  used  is 
the  small  octavo  of  1551,*  with  many  woodcuts,  imaginative 
indeed,  but  designed  in  accordance  with  the  original  text.  J. 
Mercier,  a  distinguished  scholar,  who  died  in  1562,  was  the 
editor.  In  1547  he  was  professor  of  Hebrew  at  the  Royal 


*  "  OKI  APOLLINIS  NILIACI,  De  Sacris  notis  et  sculpturis  libri  duo,"  &c. 
"  Parisiis :  apud  Jacobum  Keruer,  via  Jacobaea,  sub  duobus  Gallis,  M.D.LI." 
Also,  Martinis  "  Orus  Apollo  de  yEgypte  de  la  sygnification  des  notes  hiero- 
glyphiques  des  ^Egyptiens :  Paris,  Keruer,  sm.  8vo,  I543-" 


CHAP.  I.] 


EARLY   EXAMPLES. 


23 


College  of  Paris,  and  in  1548  edited  the  quarto  edition  of 
Horapollo's  Hieroglyphics. 

From  the  edition  of  1551,  p.  52,  we  take  a  very  popular 
illustration  ;  it  is  the  Phoenix,  and  may  serve  to  show  the  nature 
of  Horapollo's  work. 

"  How,"  he  asks,  "  do 
the  Egyptians  represent 
a  soul  passing  a  long 
time  here  ?  "  "  They 
paint  a  bird — the  Phoe- 
nix ;  for  of  all  creatures 
in  the  world  this  bird  has 
by  far  the  longest  life." 

Again,  bk.  i.  37,  or 
p.  5  3,  "  How  do  they  de- 
note  the  man  who  after 

long  absence  will  return  to  his  friends  from  abroad  ? "  By  the 
Phoenix  ;  "  for  this  bird,  after  five  hundred  years,  when  the 
death  hour  is  about  to  seize  it,  returns  to  Egypt,  and  in 
Egypt,  paying  the  debt  of  nature,  is  burned  with  great 
solemnity.  And  whatever  sacred  rites  the  Egyptians  observe 
towards  their  other  sacred  animals,  these  they  observe  towards 
the  Phoenix." 

And  bk.  ii.  57, — "The  lasting  restoration  which  shall  take 
place  after  long  ages,  when  they  wish  to  signify  it,  they  paint 
the  bird  Phoenix.  For  when  it  is  born  this  bird  obtains  the 
restoration  of  its  properties.  And  its  birth  is  in  this  manner : 
the  Phoenix  being  about  to  die,  dashes  itself  upon  the  ground, 
and  receiving  a  wound,  ichor  flows  from  it,  and  through  the. 
opening  another  Phoenix  is  born.  And  when  its  wings  are 
fledged,  this  other  sets  out  with  its  father  to  the  city  of  the 
Sun  in  Egypt,  and  on  arriving  there,  at  the  rising  of  the 
Sun,  the  parent  dies  ;  and  after  the  death  of  the  father,  the 


24  EMBLEMS :  [CHAP.  I. 

young  one  sets  out  again  for  its  own  country.     And  the  dead 
Phoenix  do  the  priests  of  Egypt  bury." 

But  the  drawings,  which  in  the  old  editions  of  Horapollo 
were  fancy-made,  have,  through  the  researches  of  a  succession  of 
Egyptian  antiquaries,  assumed  reality,  and  may  be  appealed  to 
for  proof  that  Horapollo  described  the  very  things  which  he  had 
seen,  though  occasionally  he,  or  his  translator  Philip,  attributes 
to  them  an  imaginative  or  highly  mythical  meaning.  The 
results  of  those  researches  we  witness  in  the  editions  of  Hora- 
pollo, first  by  the  celebrated  Dr.  Conrad  Leemans,  of  Leyden, 
in  1835,*  and  second,  by  Alexander  Turner  Cory,  Fellow  of 
Pembroke  College,  Cambridge,  in  1 840 ;  t  both  of  which  editions, 
by  their  illustrative  plates,  taken  from  correct  drawings  of  the 
originals,  present  Horapollo  with  an  accuracy  that  could  not 
have  been  approached  in  the  sixteenth  century.  We  have 
indeed  of  that  age  the  great  work  of  Pierius  Valerian  (ed.  folio, 
Bale,  1556,  leaves  449),  the  Hieroglyphica,  dedicated  to  Cosmo 
de'  Medici,  with  almost  innumerable  emblems,  in  fifty-eight 
books,  and  with  about  365  devices.  But  it  cannot  be  regarded 
as  an  exposition  of  the  Egyptian  art,  and  labours  under  the 
same  defect  as  the  early  editions  of  Horapollo, — the  illustrations 
are  not  taken  from  existing  monuments. 

An  example  or  two  from  Leemans  and  Cory  will  supply 
sufficient  information  to  enable  the  reader  to  understand 
something  of  the  nature  of  Horapollo's  work,  and  of  the  actual 
Hieroglyphics  from  which  that  work  has  in  great  part  been 
verified. 

The  following  is  the  3ist  figure  in  the  plates  which  Leemans 
gives ;  it  is  the  pictorial  representation  to  explain  "  What 


*  Ilorapollinis  Niloi  Hieroglyphica^  8vo,  pp.  xxxvi.  and  446:  "  Amstelodami, 
apud  J.  Muller  et  Socios,  MDCCCXXXV." 

t  The  Hieroglyphics  of  Horapollo  Niloiis,  sm.  8vo,  pp.  xii.  and  174  :  ''London, 
William  Pickering,  MDCCCXL." 


CHAP.  I.]  EARLY  EXAMPLES.  25 

the   Egyptians   mean   when   they   engrave   or   paint   a   star."  * 

"  Would  they  signify  the  God  who  sets  in  order  the  world,  or 

destiny,  or   the  number 

five,  they  paint   a  star; 

God,  indeed,  because  the 

providence    of   God,    to 

which  the  motion  of  the 

stars  and  of  all  the  world 

is     subject,     determines 

the  victory  ;  for  it  seems  LtemaMf  Ho™t°llo>  '^ 

to  them  that,  apart  from 

God,  nothing  whatever  could  endure  ;  and  destiny  they  signify, 

since  this  also  is  regulated  by  stellar   management, — and  the 

number  five,  because  out  of  the  multitude  which  is  in  heaven, 

five  only,  by  motion  originating  from  themselves,  make  perfect 

the  management  of  the  world." 

Of  the  three  figures  which  are  delineated  above,  the  one  to 
the  left  hand  symbolizes  God,  that  in  the  middle  destiny, 
and  the  third,  the  number  5,  from  five  rays  being  used  to 
indicate  a  star. 

The  same  subjects  are 
thus  represented  in  Cory's 
Horapollo. 

Cory's  Horapollo,  bk.  i. 
c.  8,  p.  15,  also  illustrates 
the  question,  "  How  do  they 
indicate  the  soul  ? "  by  the  accompanying  symbols  ;  of  which 


*  Horapollo's  Hieroglyphica,  by  Conrad  Leemans,  bk.  i.  c.  13,  p.  20  : — Ti  atrrepa 
ypatpovres  8r)\ov<Ti.  ©ebi'  Se  fyK6a/j.iov  a-rjfjia.ii'ovTes,  3)  efyiap/uej/Tjz/,  if)  T^V  TreVre  apid/j.bv, 
affTfpa  {caypcupovffL'  Qebv  /j.ev,  erreiS^  irp6voia  Oeov  rr\v  V(KT\V  irpoffTaaffei,  77  ruv  affTfpuv  KOI 
ToO  iravrbs  K6(T(J.ov  Kiv^ffis  eKTeAeTrar  So/ce?  'yap  avrols  8^Xa  Qeov,  jUTjSev  &Aa>s 
rjJ'  8e,  eVel  Kal  avr-rj  e|  acrrpiKris  oiKovo^ias  (rvviffrarai'  rbv  5e  Trei/re 
faros  eV  ovpavcp,  TrcWe  [JLOVOI  e|  avrwv  Kivovp.tvoi,  rfyv  TOV  /cbcr/uou  oiKovafj.'iav 


26 


EMBLEMS  : 


[CHAP.  I. 


Cory's  Horapollo,  1840. 


I.  represents  the  mummy  and  the  departing  soul,  II.  the  hawk 
found  sitting  on  the  mummy,  and  III.  the  external  mummy 

case.  The  an- 
swer to  the  ques- 
tion is : — 

"  Moreover,  the 
HAWK  is  put  for 
the  soul,  from  the 
signification  of  its 
name ;  for  among 
the  Egyptians  the 
hawk  is  called 

BAIETH  :  and  this  name  in  decomposition  signifies  soul  and  heart ;  for  the 
word  BAI  is  the  soul,  and  ETH  the  heart :  and  the  heart  according  to  the 
Egyptians  is  the  shrine  of  the  soul ;  so  that  in  its  composition  the  name 
signifies  'soul  enshrined  in  heart.'  Whence  also  the  hawk,  from  its  cor- 
respondence with  the  soul,  never  drinks  water,  but  blood,  by  which,  also,  the 
soul  is  sustained." 

And  in  a  similar  way  many  of  the  sacred  engravings  or  draw- 
ings are  interpreted.  A  serpent  with  its  tail  covered  by  the  rest 
of  its  body,  "  depicts  Eternity  ;  "*  "  to  denote  an  only  begotten,  or 
generation,  or  a  father,  or  the  world,  or  a  man,  they  delineate  a 
SCARAB^EUS  ; "  f  a  LlON  symbolises  intrepidity, — its  FOREPARTS, 
strength,  and  its  HEAD,  watchfulness ;  J  the  STORK  denotes 
filial  affection,  the  CRANE  on  the  watch,  a  man  on  guard  against 
his  enemies,  and  the  FEATHER  of  an  Ostrich,  impartial  justice,— 
for,  adds  the  author,  "  this  animal,  beyond  other  animals,  has 
the  wing  feathers  equal  on  every  side."  § 

Christian  Art,  like  the  Religious  Art  of  the  world  in  general, 
— from  the  thou  and  thee  of  simplest  Quakerism,  outward  and 
audible  sounds  of  an  inward  and  silent  spirit,  up  to  the  pro- 
foundest  mystic  ritualism  of  the  Buddhist,  —  Christian  Art 


Horapollo,  bk.  i.  c.  I. 
Bk.  i.  c.  17-19. 


t  Bk.  i.  c.  10. 

§  Bk.  ii.  c.  58,  94,  118. 


CHAP.  I.]  EARLY   EXAMPLES.  27 

abounds  in  Emblems  ;  gems  and  colours,  genuflexions  and  other 
bodily  postures  supply  them  ;  they  are  gathered  from  the  mineral, 
animal,  and  vegetable  kingdoms,  and  besides  are  enriched  from 
the  whole  domain  of  imaginary  devices  and  creatures.  Does 
the  emerald  flash  in  its  mild  lustre  ? — it  is  of  "  victory  and  hope, 
of  immortality,  of  faith,  and  of  reciprocal  love,"  that  it  gives 
forth  light.  Is  blue,  the  colour  of  heaven,  worn  in  some  religi- 
ous ceremony  ? — it  betokens  "  piety,  sincerity,  godliness,  con- 
templation, expectation,  love  of  heavenly  things."  Do  Christian 
men  bare  the  head  in  worship  ? — it  is  out  of  reverence  for  the 
living  God,  whose  earthly  temples  they  have  entered.  The 
badge  of  St.  John  the  Baptist,  is  a  lamb  on  a  book, — that  of  St. 
John  the  Evangelist  is  a  cup  of  gold  with  a  serpent  issuing  from 
it.  The  Pomegranate,  "  showing  its  fulness  of  seed  and  now 
bursting,"  typifies  the  hope  of  immortality  ; — and  a  Fleur-de-lys, 
or  the  Rose  of  Sharon,  embroidered  or  painted  on  a  robe, — 
it  marks  the  Blessed  Virgin.  With  more  intricate  symbolism 
the  Greek  Church  represents  the  Saviour's  name  (HCOYC 
XPICTOCr- lesuS  CHristuS.  The  first  finger  of  the  hand  ex- 
tended is  for  I,  the  second  bent  for  C  or  s,  the  thumb  crossed 
upon  the  third  finger  for  X  or  Ch,  and  the  fourth  finger  curved 
for  C  or  s.  Thus  are  given  the  initial  and  final  letters  of  that 
Holy  Name,  the  Saviour,  the  Christ.* 

Of  early  Emblems  examples  enough  have  now  been  given  to 
indicate  their  nature.  Whether  in  closing  this  part  of  the 
subject  we  should  name  a  work  of  more  ancient  date  even  than 
the  Greek  version  of  Horapollo  would  admit  of  doubt,  were  it 
not  that  every  work  partakes  of  an  emblematical  character, 
when  the  descriptions  given  or  the  instances  taken  pertain,  as 

*  For  a  further  and  very  interesting  account  of  the  Emblems  of  Christian  Art, 
reference  may  be  made  to  a  work  full  of  information,— too  brief  it  may  be  for  all  that 
is  desirable,— but  to  be  relied  on  for  its  accuracy,  and  to  be  imitated  for  its  candid  and 
charitable  spirit: — Sacred  Archeology,  by  Mackenzie  E.  C.  Walcott,  B.D.,  8vo, 
pp.  640  :  London,  Reeve  &  Co.  1868. 


28 


EMBLEMS  : 


[CHAP.  I. 


Whitney  says,  "  to  vertue  and  instruction  of  life,"  or  "  doe  tende 
vnto  discipline,  and  morall  preceptes  of  living." 

Under  this  rule  we  hesitate  not  to  admit  into  the  wide  cate- 
gory of  Emblem  writers,  EPIPHANIUS,  who  was  chosen  bishop  of 
Constantia  in  Cyprus,  A.D.  367,  and  who  died  in  402.  His 
Physiologist,  published  with  his  sermon  on  the  Feast  of  Palms, 
is,  like  many  writings-  of  the  Fathers,  remarkable  for  highly 
allegorical  interpretations.  An  edition,  by  Ponce  de  Leon,  a 
Spaniard  of  Seville,  was  printed  at  Rome  in  1587,  and  repeated 
at  Antwerp*  in  1588.  It  relates  to  the  real  and  imaginary 
qualities  of  animals,  and  to  certain  precepts  and  doctrines  of 
which  those  qualities  are  supposed  to  be  symbolical.  As  an 
example  we  give  here  an  extract  from  chapter  xxv.  p.  106, 
"  Concerning  the  Stork? 


Epiphaniiis,  1588. 


*  "Ex  Officina  Christophori  Flantini,  Architypographi  Regij,  1588.' 


CHAP.  I.] 


EARLY  EXAMPLES. 


29 


The  Stork  is  described  as  a  bird  of  extreme  purity  ;  and  as 
nourishing,  with  wonderful  affection,  father  and  mother  in  their 
old  age.  The  "  interpretation  "  or  application  of  the  fact  is  ;  — 
"  So  also  it  behoves  us  to  observe  these  two  divine  commands, 
that  is  to  turn  aside  from  evil  and  to  do  good,  as  the  kingly 
prophet  wrote ;  and  likewise  in  the  decalogue  the  Lord  com- 
mands, thus  saying  ; — Honour  thy  father  and  thy  mother." 

In  a  similar  way  the  properties  and  habits  of  various  animals, — 
of  the  lion,  the  elephant,  the  stag,  the  eagle,  the  pelican,  the 
partridge,  the  peacock,  &c.,  are  adduced  to  enforce  or  symbolize 
virtues  of  the  heart  and  life,  and  to  set  forth  the  doctrines  of  the 
writer's  creed. 

To  illustrate  the  Emblem  side  of  Christian  Art  a  great 
variety  of  information  exists  in  Sketches  of  the  History  of 
Christian  Art,  by  Lord  Lindsay  (3  vols.  8vo :  Murray,  London, 
1847) ;  and  Northcote  and  Brownlow's  Roma  Sotterranea,  com- 
piled from  De  Rossi  (8vo :  Longmans,  London,  1869)  promises 
to  supply  many  a  symbol  and  type  of  a  remote  age  fully  to  set 
forth  the  same  subject. 


Gio-vio,  1556. 


30  EMBLEM-BOOK   LITERATURE:  [CHAP.  II. 


CHAPTER    II. 

SKETCH    OF    EMBLEM-BOOK    LITERATURE    PREVIOUS 
TO    A.D.    1616. 


SECTION    I. 

EXTENT   OF   THE    EMBLEM  LITERATURE    TO    WHICH 
SHAKESPEARE    MIGHT   HAVE   HAD    ACCESS. 

N  the  use  of  the  word  Emblem  there  is  seldom 
a  strict  adherence  observed  to  an  exact  defini- 
tion,— so,  when  Emblem  Literature  is  spoken  of, 
considerable  latitude  is  taken  and  allowed  as  to 
the  kind  of  works  which  the  terms  shall  embrace. 
In  one  sense  every  book  which  has  a  picture  set  in  it,  or  on  it, 
is  an  emblem-book, — the  diagrams  in  a  mathematical  treatise  or 
in  an  exposition  of  science,  inasmuch  as  they  may  be,  and  often 
are,  detached  from  the  text,  are  emblems ;  and  when  to  Tenny- 
son's exquisite  poem  of  "  ELAINE,"  Gustave  Dore  conjoins  those 
wonderful  drawings  which  are  themselves  poetic,  he  gives  us  a 
book  of  emblems  ; — Tennyson  is  the  one  artist  that  out  of  the 
gold  of  his  own  soul  fashioned  a  vase  incorruptible, — and  Dore 
is  that  second  artist  who  placed  about  it  ornaments  of  beauty, 
fashioned  also  out  of  the  riches  of  his  mind. 

Yet  by  universal  consent,  these  and  countless  other  works, 
scientific,  historical,  poetic,  and  religious,  which  artistic  skill  has 
embellished,  are  never  regarded  as  emblematical  in  their  cha- 
racter. The  "picture  and  short  posie,  expressing  some  particular 


SECT.  I.]  GENERAL    EXTENT.  31 

conceit,"  seem  almost  essential  for  bringing  any  work  within  the 
province  of  the  Emblem  Literature  ; — but  the  practical  applica- 
tion of  the  test  is  conceived  in  a  very  liberal  spirit,  so  that  while 
the  small  fish  sail  through,  the  shark  and  the  sea-dog  rend  the 
meshes  to  tatters. 

A  proverb  or  witty  saying,  as,  in  Don  Sebastian  Orozco's 
"EMBLEMAS  MORALES "  (Madrid  1610),  "Divesqve  miserqve," 
both  rich  and  wretched,  may  be  pictured  by  king  Midas  at  the 
table  where  everything  is  turned  to  gold,  and  may  be  set  forth 
in  an  eight-lined  stanza,  to  declare  how  the  master  of  millions 
was  famishing  though  surrounded  by  abundance ; — and  these 
things  constitute  the  Emblem.  Some  scene  from  Bible  History 
shall  be  taken,  as,  in  "  Ue0  ftguteg  fclt  btetl  Cegtamettt,  &  tlU 
nouuei"  (at  Paris,  about  1503),  Moses  at  the  burning  bush; 
where  are  printed,  as  if  an  Emblem  text,  the  passage  from 
Exodus  iii.  2 — 4,  and  by  its  side  the  portraits  of  David  and 
Esaias  ;  across  the  page  is  a  triplet  woodcut,  representing 
Moses  at  the  bush,  and  Mary  in  the  stable  at  Bethlehem  with 
Christ  in  the  manger-cradle  ;  various  scrolls  with  sentences  from 
the  Scriptures  adorn  the  page : — such  representations  claim  a 
place  in  the  Emblem  Literature.  Boissard's  Theatrum  Vitce 
Humana  (Metz,  1596)  shall  mingle,  in  curious  continuity,  the 
Creation  and  Fall  of  Man,  Ninus  king  of  the  Assyrians,  Pandora 
and  Prometheus,  the  Gods  of  Egypt,  the  Death  of  Seneca, 
Naboth  and  Jezabel,  the  Advent  of  Christ  and  the  Last  Judg- 
ment;—yet  they  are  all  Emblems, — because  each  has  a  "picture 
and  a  short  posie  "  setting  forth  its  "  conceit."  To  be  sure  there 
are  some  pages  of  Latin  prose  serving  to  explain  or  confuse,  as 
the  case  may  be,  each  particular  imagination  ;  but  the  text 
constitutes  the  emblem,  and  however  long  and  tedious  the 
comment,  it  is  from  the  text  the  composition  derives  its  name. 

"  <Stam  unfc  ftHapeniwcf)  ijocfjs  unfc  niters  Statists,"— 
A  stem  and  armorial  Bearings-book  of  high  and  of  low  Station, 


32  EMBLEM-BOOK   LITERATURE:  [CHAP.  II. 

— printed  at  Frankfort-on-Mayne,  1579,  presents  above  270 
woodcuts  of  the  badges,  shields  and  helmets,  with  appropriate 
symbols  and  rhymes,  belonging  as  well  to  the  humblest  who 
can  claim  to  be  "vom  gutem  Geschlecht,"  of  good  race,  as  to 
the  Electoral  Princes  and  to  the  Caesarean  Majesty  of  the  Holy 
Roman  Empire.  Most  of  the  figures  are  illustrated  by  Latin 
and  German  verses,  and  again  "  picture  and  short  posie  "  vin- 
dicate the  title, — book  of  Emblems. 

And  of  the  same  character  is  a  most  artistic  work  by 
Theodore  de  Bry,  lately  added  to  the  treasure-house  at  Keir  ; 
it  is  also  a  Stam  und  Wapenbuch,  issued  at  Frankfort  in  1593, 
with  ninety-four  plates  all  within  most  beautiful  and  elaborate 
borders.  Its  Latin  title,  Emblema  Nobilitate  et  Vulgo  scitu 
digna,  &c.,  declares  that  these  Emblems  are  "worthy  to  be 
known  both  by  nobles  and  commons." 

And  so  when  an  Emperor  is  married,  or  the  funeral  rites  of 
a  Sovereign  Prince  celebrated,  or  a  new  saint  canonized,  or 
perchance  some  proud  cardinal  or  noble  to  be  glorified,  what- 
ever Art  can  accomplish  by  symbol  and  song  is  devoted  to  the 
emblem-book  pageantry, — and  the  graving  tool  and  the  printing 
press  accomplish  as  enduring  and  wide-spread  a  splendour  as 
even  Titian's  Triumphs  of  Faith  and  Fame. 

Devotion  that  seeks  wisdom  from  the  skies,  and  Satire  that 
laughs  at  follies  upon  the  earth,  both  have  claimed  and  used 
emblems  as  the  exponents  of  their  aims  and  purposes. 

With  what  surpassing  beauty  and  nobleness  both  of  ex- 
pression and  of  sentiment  does  Otho  Vaenius  in  his  "  AMORIS 
DiviNI  EMBLEM  ATA,"  Antwerp,  1615,  represent  to  the  mind  as 
well  as  to  the  eye  the  blessed  Saviour's  adoption  of  a  human 
soul,  and  the  effulgence  of  love  with  which  it  is  filled  !  (See 
Plate  II.)  They  are  indeed  divine  Images  portrayed  for  us,  and 
the  great  word  is  added  from  the  beloved  disciple, — "  Behold, 
what  manner  of  love  the  Father  hath  bestowed  upon  us,  that 


Mate 


D  I  V  I  N  I    AMORIS. 


of 


Seitl 


SECT.  I.]  GENERAL    EXTENT.  33 

we  should  be  called  the  sons  of  God."     And  the  simple  Refrain 
follows, — 

"  Oest  par  cet  Amour  quc  les  hommes 

Sont  esleuez  de  ce  bas  lieuj 

Cestpar  cet  Amour  que  nous  sommes 

Enfans  legitimes  de  Dieu  : 

Car  PA  me  qui  garde  en  la  vie 

De  son  Pere  la  volonte. 

Doit  au  Pere  es  cieux  estre  vnie 

(Comme  fille)  en  eternite" 

And  that  clever  imitation  of  the  "  Stulttfeta  Jiaut8,"  the 
Fool-freighted  Ship,  of  the  fifteenth  century,  namely,  the 
"  CENTIFOLIUM  STULTORUM,"  edition  1707,  or  Hundred-leaved 
Book  of  Fools  of  the  eighteenth,  proves  how  the  Satirical  may 
symbolize  and  fraternize  with  the  Emblematical.  The  title  of 
the  book  alone  is  sufficient  to  show  what  a  vehicle  for  lashing 
men's  faults  the  device  with  its  stanzas  and  comment  may  be 
made;  it  is,  "A  hundred-leaved  book  of  Fools,  in  Quarto  ;  or  an 
hundred  exquisite  Fools  newly  warmed  up,  in  Folio, — in  an 
Alapatrit-Pasty  for  the  show-dish  ;  with  a  hundred  fine  copper 
engravings,  for  honest  pleasure  and  useful  pastime,  intended  as 
well  for  frolicsome  as  for  melancholy  minds ;  enriched  moreover 
with  a  delicate  sauce  of  many  Natural  Histories,  gay  Fables, 
short  Discourses,  and  edifying  Moral  Lessons." 

Among  the  one  hundred  distinguished  characters,  we  might 
select,  were  it  only  in  self-condemnation,  the  Glass  and  Porce- 
lain dupe,  the  Antiquity  and  Coin-hunting  dupe,  and  especially 
the  Book-collecting  dupe.  These  are  among  the  best  of  the 
devices,  and  the  stanzas,  and  the  expositions.  Dupes  of  every 
kind,  however,  may  find  their  reproof  in  the  six  simple  German 
lines, — p.  171, 

"  SGBer  barren  offt  utel  prebtgen  tottt, 
23eV  Ujnen  ntdjt  nrirb  fctyaffen  »tet : 
£>ann  ott'«  toa8  man  am  fcefien  tebt, 
JD«  SRatr  jiim  drgfien  faffcfy  »er|M;t, 


34  EMBLEM-BOOK   LITERATURE:  [CHAP.  II. 

©in  Starr,  ein  9Tarr,  Hetbt  ungrfeljrt, 
SDBann  man  iljn  tyunbert  Satyr  fctyon  W;vt." 

meaning  pretty  nearly  in  our  vernacular  English, 

"  Whoso  to  fools  will  much  and  oft  be  preaching, 
By  them  not  much  will  make  by  all  his  teaching. 
For  though  we  of  our  very  best  be  speaking, 
Falsely  the  fool  the  very  worst  is  seeking. 
Therefore  the  fool,  a  fool  untaught,  remains, 
Though  five  score  years  we  give  him  all  our  pains." 

But  Politics  also  have  the  bright,  if  not  the  dark,  side  of  their 
nature  presented  to  the  world  in  Emblems.  Giulio  Capaccio, 
Venetia,  1620,  derives  "  IL  PRINCIPE,"  The  Prince,  from  the 
Emblems  of  Alciatus,  "with  two  hundred  and  more  Political 
and  Moral  Admonitions,"  "useful,"  he  declares,  "to  every 
gentleman,  by  reason  of  its  excellent  knowledge  of  the  customs, 
economy,  and  government  of  States."  Jacobus  a  Bruck,  of 
Angermunt,  in  his  "  EMBLEMATA  POLITICA,"  A.D.  1618,  briefly 
demonstrates  those  things  which  concern  government ;  but  Don 
Diego  Saavedra  Faxardo,  who  died  in  1648,  in  a  work  of  con- 
siderable repute, — "  IDEA  de  vn  Principe  Politico-Christiano, 
representada  EN  CIEN  EMPRESAS," — Idea  of  a  Politic-Christian 
Prince,  represented  in  one  htmdred  Emblems  (edition,  Valencia, 
1655),  so  accompanies  his  Model  Ruler  from  the  cradle  to 
maturity  as  almost  to  make  us  think,  that  could  we  find  the  bee- 
bread  on  which  Kings  should  be  nourished,  it  would  be  no  more 
difficult  a  task  for  a  nation  to  fashion  a  perfect  Emperor  than  it 
is  for  a  hive  to  educate  their  divine-right  ruling  Queen. 

But,  so  great  is  the  variety  of  subjects  to  which  the  illustra- 
tions from  Emblems  are  applied,  that  we  shall  content  our- 
selves with  mentioning  one  more,  taking  out  the  arguments,  as 
they  are  named,  from  celebrated  classic  poets,  and  converting 
them  into  occasions  for  pictures  and  short  posies.  Thus,  like 
the  dust  of  Alexander,  the  remains  of  the  mighty  dead,  of 


L  X  B  R  O       P  R  I  M  Of 


La  Creatione  Sc  connioone 


Ste^Sfe^ « *  \  A 


Prnna  «>'  ilgranjitttor  delC  Vnluerfo 
Con  pieta  gli  ponejft  intorno  mentt?, 
£ra  ciefo 

Nelcentro  il  FUoco,  e'iiutto  era  nienttj 
Ch'  tvni  ElementOy  di  virtu  diyeifii    • 
Non  banca  luogo  a  lui  conuententc 
Ma  delyerbo  diu'nt  T tttoor  prefindo 
D'>w  c  A  o  s  ordino  ft  bcilo  tl  Mondo, 


SECT.  I.]  GENERAL    EXTENT.  35 

Homer  and  Virgil,  of  Ovid  and  Horace,  have  served  the  base 
uses  of  Emblem-effervescence,  and  in  nearly  all  the  languages  of 
Europe  have  been  forced  to  misrepresent  the  noble  utterances  of 
Greece  and  Rome.  Many  of  the  pictures,  however,  are  very 
beautiful,  finely  conceived,  and  skilfully  executed  ; — we  blame 
not  the  artists,  but  the  false  taste  which  must  make  little  bits 
of  verses  where  the  originals  existed  as  mighty  poems. 

Generally  it  is  considered  that  the  Ovids  of  the  fifteenth 
century  were  without  pictorial  illustrations,  and  could  not,  there- 
fore, be  classed  among  books  of  Emblems ;  but  the  Blandford 
Catalogue,  p.  21,  records  an  edition,  "Venetia,  1497,"  "cum 
figuris  depictis" —  with  figures  portrayed.  Without  discussing 
the  point,  we  will  refer  to  an  undoubted  emblematized  edition 
of  the  Metamorphoses  of  Ovid,  "  Figurato  &  abbreviate  in 
forma  d'Epigrammi  da  M.  Gabriello  Symeoni," — -figured  and 
abbreviated  in  form  of  Epigrams  by  M.  Gabriel  Symeoni.  The 
volume  is  a  small  4to  of  245  pages,  of  which  187  have  each 
a  title  and  device  and  Italian  stanza,  the  whole  surrounded  by  a 
richly  figured  border.  The  volume,  dedicated  to  the  celebrated 
"  Diana  di  Poitiers,  Dvchessa  di  Valentinois,"  was  published  "  A 
Lione  per  Giouanni  di  Tornes  nella  via  Resina,  15 59."  An 
Example,  p.  13,  (see  Plate  III.,)  will  show  the  character  of  the 
work,  of  which  another  edition  was  issued  in  1584.  The  Italian 
stanzas  are  all  of  eight  lines  each,  and  the  passages  of  the 
original  Latin  on  which  they  are  founded  are  collected  at  the 
end  of  the  volume.  Thus,  for  "  La  Creatione  &  confusione  del 
Hondo,"  the  Latin  lines  are, 

"  Ante  mare  &>  terras  &  quod  tegit  omnia,  ccelum. 

Nulli  sua  forma  manebat. 

Hanc  Deus,  &"  melior  litem  natura  diremit" 

Of  the  devices  several  are  very  closely  imitated  in  the  wood- 
cuts of  Reusner's   Emblems,  published  at  Frankfort,  in  1581. 


36  EMBLEM-JBOOK   LITERATURE:  [CHAP.  II. 

I 

The  engravings  in  Symeoni's  Ovid  are  the  work  of  Solomon 
Bernard,  "  the  little  Bernard,"  a  celebrated  artist  born  at  Lyons 
in  1512;  who  also  produced  a  set  of  vignettes  for  a  French 
translation  of  Virgil,  L'Eneide  de  Virgile,  Prince  des  Poetes 
latins,  printed  at  Lyons  in  1560. 

"  QVINTI  HORATII  FLACCI  EMBLEMATA,"  as  Otho  Vaenius 
names  one  of  his  choicest  works,  first  published  in  1607,  is  a 
similar  adaptation  of  a  classic  author  f o  the  prevailing  taste  of 
the  age  for  emblematical  representation.  The  volume  is  a  very 
fine  4to  of  214  pages,  of  which  103  are  plates  ;  and  a  corres- 
ponding 103  contain  extracts  from  Horace  and  other  Latin 
authors,  followed,  in  the  edition  of  1612,  by  stanzas  in  Spanish, 
Italian,  French  and  Flemish.  An  example  of  the  execution  of 
the  work  will  be  found  as  a  Photolith,  Plate  XVII.,  near  the  end 
of  our  volume  ;  it  is  the  "  VOLAT  IRREVOCABLE  TEMPUS,"- 
Irrevocable  time  is  flying, — so  full  of  emblematical  meaning. 

From  the  office  of  the  no  less  celebrated  Crispin  de  Passe, 
at  Utrecht,  in  1613,  issued,  in  Latin  and  French  verse, 
"  SPECVLVM  HEROICVM  Principis  omnium  temporum  Poetarum 
HOMERI," — The  Heroic  Mirror  of  Homer,  the  Prince  of  the 
Poets  of  all  times.  The  various  arguments  of  the  twenty-four 
books  of  the  Iliad  have  been  taken  and  made  the  groundwork 
of  twenty-four  Emblems,  with  their  devices  most  admirably 
executed.  The  Latin  and  French  verses  beneath  each  device 
unmistakeably  impress  a  true  emblem-character  on  the  work. 
The  author,  "le  Sieur  J.  Hillaire,"  appends  to  the  Emblems, 
pp.  69 — 75,  "Epitaphs  on  the  Heroes  who  perished  in  the  Trojan 
War,"  and  also  "La  course  d'Vlisses,  son  tragitte  retour,  & 
deffaicte  des  amans  qui  poursuivoient  la  chaste  &  vertueuse 
Penelope." 

What  might  not  in  this  way  be  included  within  the  wide- 
encompassing  grasp  of  the  determined  Emblematist  it  is  almost 
impossible  to  say ;  and  therefore  it  ought  to  be  no  matter  of 


SECT.  -I.] 


GENERAL    EXTENT. 


37 


surprise  to  find  there  is  practically  a  greater  extent  given  to  the 
Literature  of  Emblems  than  of  absolute  right  belongs  to  it.  We 
shall  not  go  much  astray  if  we  take  Custom  for  our  guide,  and 
keep  to  its  decisions  as  recorded  in  the  chief  catalogues  of 
Emblem  works. 


Horapollo,  1551. 


38  EMBLEM-BOOK   LITERATURE,  [CHAP.  II. 


SECTION    II. 

EMBLEM    WORKS   AND    EDITIONS   DOWN   TO    THE    END    OF 
THE    FIFTEENTH    CENTURY. 

EAVING  for  the  most  part  out  of  view  the 
discussions  which  have  taken  place  as  to  the 
exact  time  and  the  veritable  originators  of  the 
arts  of  printing  by  fixed  or  moveable  types, 
and  of  the  embellishing  of  books  by  engravings  on  blocks  of 
wood  or  plates  of  copper,  we  are  yet — for  the  full  development 
of  the  condition  and  extent  of  the  Emblem  Literature  in  the  age 
of  Shakespeare — required  to  notice  the  growth  of  that  species  of 
ornamental  device  in  books  which  depends  upon  Emblems  for 
its  force  and  meaning.  We  say  advisedly  "  ornamental  device 
in  books,"  for  infinite  almost  are  the  applications  of  Symbol  and 
Emblem  to  Architecture,  Sculpture,  and  Painting,  as  is  testified 
by  the  Remains  of  Antiquity  in  all  parts  of  the  world,  by  the 
Pagan  tombs  and  Christian  catacombs  of  ancient  Rome,  by 
nearly  every  temple  and  church  and  stately  building  in  the 
empires  of  the  earth,  and  especially  in  those  wonderful  creations 
of  human  skill  in  which  form  and  colour  bring  forth  to  sight 
nearly  every  thought  and  fancy  of  our  souls. 

Long  before  either  block-printing  or  type-printing  was  prac- 
tised, it  is  well  known  how  extensively  the  limner's  art  was 
employed  "  to  illuminate,"  as  it  is  called,  the  Manuscripts  that 
were  to  be  found  in  the  rich  abbeys  or  convents,  and  in  the 
mansions  of  the  great  and  noble.  For  instance,  the  devices 


SECT.  II.] 


TO    A.D.    i 


500. 


39 


in    the   Dance  of  Macaber,   undoubt- 
edly an   Emblem   Manuscript  of  the 
fourteenth  century,  were  of  painter's 
workmanship,     and     afterwards     em- 
ployed   by    the    wood-engravers    to 
embellish   type-printed  volumes  of  a 
devotional  character.    To  this  Brunet, 
in   his    Manuel  du    Libraire,    vol.   v. 
c.    1557 — 1560,    bears   witness,   when 
speaking  of  the  printer  Philip  Pigou- 
chet,    and    of   the   bookseller   Simon 
Vostre,   who   "  furent  les   premiers  a 
Paris  qui  surent  allier  avec  succes  la 
gravure  a  la  typographic  ;  "  and  adds 
in  a  note,  "  La  plus  ancienne  edition 
de  la  Danse  macabre  que  citent  les 
bibliographes  est  celle  de  Paris,  1484 ; 
mais,    plus    d'un    siecle    avant   cette 
date,  des  miniaturistes  fran^ais  avaient 
deja  figure,  sur  les  marges  de  plusieurs 
Heures    manuscrites,  des   Danses  de 
morts,  representees  et  disposees  a  peu 
pres    comme    elles    Font   etc*    depuis 


From  Brunet,  v.  1559. 


40  EMBLEM-BOOK   LITERATURE,  [CHAP.  II. 

dans  les  livres  de  Simon  Vostre  ;  c'est  ce  que  nous  avons  pu 
remarquer  dans  un  magnifique  manuscrit  de  la  seconde  moitie 
du  quatorzieme  siecle,  enrichi  de  nombreuses  et  admirables 
miniatures  qui,  apres  avoir  ete  conserve  en  Angleterre  dans  le 
cabinet  du  docteur  Mead,  a  qui  le  roi  Louis  XV.  en  avait  fait 
present,  est  venu  prendre  place  parmi  les  curiosites  de  premier 
ordre  reunies  dans  celui  de  M.  Ambr.  Firmin  Didot." 

A   strictly  emblematical  work  in  English   is  the  following, 
"from  a  finely  written  and  illuminated  parchment  roll,  in  perfect 


Five  wounds  of  Christ,  1400 — 1430. 


SECT.  II.]  TO    A.D.     1500.  41 

preservation,  about  two  yards  and  three  quarters  in  length," 
"Cfje  dFtbe  fljaounte  of  Otyrfct."  "ISfi  TOtllt'am  iStllgng;" 
"Manchester:  Printed  by  R.  and  W.  Dean,  4to,  1814."  The 
date  is  fixed  by  the  editor,  William  Bateman,  "  between  the 
years  1400  and  1430;"  and  the  poem  contains  about  120  lines, 
with  six  illuminated  devices.  We  give  here,  on  page  40,  in 
outline,  the  DEVICE  of  "  The  Heart  of  Jesus  the  Well  of  ever- 
lasting Lyfe" 

There  follows,   as  to  each   of    the    Emblems,   a    Prayer,   or 
Invocation  ;  the  Device  in  question  has  these  lines,  — 

"ptagle  belle  anti  caogte  of  culastjmg  Igffc 

launccti  so  fcrrc  b^gn  mg  lor&cs  sgoc 
floogs  ofot  tragljmg  most  aromatgf 

pciotts  ^  toounoco  fo  large  ano  fogoc 
P?agle  truftg  tveulottc  our  jog  to  probioe 

portc  of  gloric  ic1  pagncs  allc  cmbrurtJ 
allc  E  sprgnglgUe  Igfcc  pttrpul  ociu 


An  Astronomical  Manuscript  in  the  Chetham  Library, 
Manchester,  the  eclipses  in  which  are  calculated  from  A.D.  1330 
to  A.D.  1462,  contains  emblematical  devices  for  the  months  of 
the  year,  and  the  signs  of  the  zodiac  ;  these  are  painted 
medallions  at  the  beginning  of  each  month  ;  and  to  each  of  the 
months  is  attached  a  metrical  line  explanatory  of  the  device. 

3anuartus.  Ouer  yis  feer  I  warme  myn  handes. 

Jtbruartus.  Wyth  yis  spade  I  delve  my  londes. 

fEartius.  Here  knitte  I  my  vynes  in  springe. 

Qprilis.  So  merie  I  here  yese  foules  singe. 

firlagus.  I  am  as  Joly  as  brid  on  bouz. 

SFunttis.  Here  wede  I  my  corn,  clene  I  houz. 

3ulius.  Wyth  yis  sythe  my  medis  I  mowe. 

Augustus.  Here  repe  I  my  corn  so  lowe. 

September.  Wyth  ys  flayll  I  yresche  my  bred. 

©ctobcr.  Here  sowe  I  my  Whete  so  reed. 

November.  Wyth  ys  knyf  I  steke  my  swyn. 

December.  Welcome  cristemasse  Wyth  ale  and  Wyn. 


42  EMBLEM-BOOK    LITERATURE,  [CHAP.  II. 

This  manuscript  contains,  as  J.  O.  Halliwell  says  of  it, 
"  an  astrological  volvelle — an  instrument  mentioned  by  Chaucer  : 
it  is  the  only  specimen,  I  believe,  now  remaining  in  which 
the  steel  stylus  or  index  has  been  preserved  in  its  original 
state." 

Doubtless  it  is  a  copy  of  the  Kalendrier  des  Bergers,  which 
with  the  Compost  des  Bergers,  has  in  various  forms  been  circu- 
lated in  France  from  the  fourteenth  century  almost,  if  not  quite, 
to  the  present  day.  An  edition  in  4to,  of  144  pages,  printed 
at  Troyes,  in  1705,  bears  the  title,  Le  Grand  Calendrier  et 
Compost  des  Bergers ;  compose'  par  le  Berger  de  la  grand 
Montague. 

Kindred  works  issued  from  the  presses  of  Venice,  of 
Nuremberg,  and  of  Augsburg,  between  1475  and  1478,  in 
Latin,  Italian,  and  German,  and  are  ascribed  to  John  Muller, 
more  known  under  the  name  of  Regiomontanus,  a  celebrated 
astronomer,  born  in  1436,  at  Koningshaven,  in  Franconia,  and 
who  died  at  Rome  in  1476.  One  of  these  editions,  in  folio, 
was  printed  at  Augsburg  in  1476  by  Erhard  Ratdolt,  being 
the  first  work  he  sent  forth  after  his  establishment  in  that 
city.  (See  Biog.  Univ.,  vol.  xxx.  p.  381,  and  vol.  xxxvii.  p.  25.) 
But  the  most  thoroughly  emblematical  work  from  Ratdolt's 
press  was  an  "  &8ttOlattum  planii  in  tafmlig,"  "wrought  out 
anew  by  John  Angeli,  master  of  liberal  arts,  MCCCCLXXXVIII." 
There  are  414  woodcuts,  and  all  of  them  emblematical. 
The  library  at  Keir  contains  a  perfect  copy,  4to,  in  most 
admirable  condition.  Brunet,  i.  c.  290,  names  a  Venice  edition 
in  1494,  and  refers  to  other  astronomical  works  by  the  same 
author. 

In  its  manuscript  form,  too,  the  celebrated  "  SPECULUM 
HUMANE  SALVATIONIS,"  Mirror  of  Human  Salvation,  exhibits 
throughout  the  emblem  characteristics.  Of  this  work,  both 
as  it  exists  in  manuscript  and  in  the  earliest  printed  form 


SECT.  II.]  TO    A.D.     1500. 


43 


by  Koster  of  Haarlem,  about  1430,  specimens  are  given  in 
"A  History  of  the  Art  of  Printing  from  its  invention  to  its 
wide  spread  developement  in  the  middle  of  the  sixteenth 
century  ; "  "  by  H.  NOEL  HUMPHREYS,"  "  with  one  hundred 
illustrations  produced  in  Photo-lithography  ;  "  folio  :  Quaritch, 
London,  1867.  PI.  8  of  Humphreys'  learned  and  magnifi- 
cent volume  exhibits  "  a  page  from  a  manuscript  copy  of 
the  Speculum  Humance  Salvationis,  executed  previous  to  the 
printed  edition  attributed  to  Koster;"  and  pi.  10,  "A  page 
from  the  Speculum  Humana  Salvationis  attributed  to  Koster 
of  Haarlem,  in  which  the  text  is  printed  from  moveable 
types." 

The  inspection  of  these  plates,  and  the  assurance  by  Hum- 
phreys, p.  60,  that  "  the  illustrations,  though  inferior  to  Koster's 
woodcuts,  are  of  similar  arrangement,"  may  satisfy  us  that  the 
Speculum  Humana  Salvationis,  and  all  its  kindred  works,  in 
German,  Dutch,  and  French,  amounting  to  many  editions 
previous  to  the  year  1500,*  are  truly  books  that  belong  to  the 
Emblem  literature.  Thus  pi.  8,  "  though  without  the  decora- 
tive Gothic  framework  which  separates,  and,  at  the  same  time, 
binds  together  the  double  illustrations  of  the  xylographic  artist," 
exhibits  to  us  the  exact  character  of  "the  double  pictures  of  the 
Speculum?  "  These  double  pictures,"  p.  60  of  Humphreys, 
"  illustrate  first  a  passage  in  the  New  Testament,  and  secondly 
the  corresponding  subject  of  the  Old,  of  which  it  is  the  antitype. 
In  the  present  page  we  have  Christ  bearing  His  cross  (Christus 
bajulat  crucem)  typified  by  Isaac  carrying  the  wood  for  his  own 
sacrifice  (Isaac  portat  ligna  sua)."  "The  engravings,"  p.  58, 
"  i.e.,  of  Koster's  first  great  effort,  occur  at  the  top  of  each  leaf, 
and  the  rest  of  the  page  is  filled  with  two  columns  of  text, 
which,  in  the  supposed  first  edition,  is  composed  of  Latin  verse 

*  See  Brunei's  Manuel  du  Libraire,   vol.   v.   col.   476  —483,  and  col.  489  ;  also 
vol.  iv.  col.  1343-46. 


44  EMBLEM-BOOK    LITERATURE,  [CHAP.  II. 

(or,  rather,  Latin  prose  with  rhymed  terminations  to  the  lines,  as 
the  lines  do  not  scan)  ;  and  in  later  editions,  in  Dutch  prose." 
"  This  specimen,"  pi.  8,  p.  60,  "  will  enable  the  student  to 
understand  precisely  the  kind  of  manuscript  book  which  Koster 
reproduced  in  a  cheaper  form  by  xylography,  to  which  he 
eventually  allied  the  still  more  important  invention  of  moveable 
types." 

From  a  very  fine  MS.  copy  of  the  Speadum  Humance  Salva- 
tionis,  belonging  to  Mr.  Henry  Yates  Thompson,  our  fac-simile 
Plates  IV.  and  V.,  though  on  a  smaller  scale,  present  the  Title 
and  the  first  Pair  of  devices  with  their  text.  The  work  is  in 
twenty-nine  chapters,  and  to  each  there  are  four  devices  in  four 
columns,  with  appropriate  explanations  in  Latin  verse,  and  at 
the  foot  of  the  columns  are  the  references  to  the  Old  or  the 
New  Testament. 

The  manuscript  entitled  "  lie  Uolttwto,  gibe  foe  trifcitS 
&0lumfr0," — Concerning  Birds,  or  the  Three  Doves,  in  the  library 
"  du  Grand  Seminaire,"  at  Bruges,  is  also  an  emblem-book. 
It  is  excellently  illuminated,  and  the  workmanship  is  pro- 
bably of  the  thirteenth  century.  (See  the  Whitney  Reprint, 
p.  xxxii.) 

The  illuminated  Missal*  executed  in  1425  for  John,  Duke  of 
Bedford  and  regent  of  France,  according  to  the  account  pub- 
lished of  it  by  Richard  Gough,  4to,  London,  1794,  and  by 
others,  abounds  in  emblem  devices.  It  contains  "  fifty-nine 
large  miniatures,  which  nearly  occupy  the  page,  and  above  a 
thousand  small  ones  in  circles  of  about  an  inch  and  half 
diameter,  displayed  in  brilliant  borders  of  golden  foliage,  with 
variegated  flowers,  &c.  At  the  bottom  of  every  page  are  two 
lines  in  blue  and  gold  letters,  which  explain  the  subject  of  each 

*  Sold  at  the  Duchess  of  Portland's  sale  in  1789  to  Mr.  Edwards  for  £2 15,—  and 
at  his  sale  in  1815  to  the  Duke  of  Maryborough  for  ,£637  15^.  See  Dibdin's 
'•'Bibliomania"  ed.  1811,  p.  253;  and  Timperley's  Dictionary  of  Printers  and 
Printing,  ed.  1839,  p.  93. 


fft  ftetoi  auftntinmtftt  pataiarum  5ie          Beni  «j  ab  fctmnain5i?penm  qfolaaonem 
C<mt  eti^rtnu^<etwaiXaa^mtntt»ec«i(he    Ciitj*  fefcefctr^  mana  bStebatj  fti'ito^  ceK 


C^o  nli)#utw)cl  tri  Mcrto  cca^  imi 


tw  (cnraTi  Ccicneiiiicnti 


jOobis'eit  qtultf  pattern  fop  fbalttcftmtc 


;§  j  cnv  m  ftiu(  i  am  unc  f  ceTo  aoxo 
~ 


pccpitj 

Ctf  fttltJa^I'luO  dit  ilbi  Vll 

\H 


<a\it  ifttm  tjenteima  ft*  vnfiMif 


??  a 


Jt.J. 


SECT.  II.]  TO    A.D.    1500.  45 

miniature."  "The  Missal,"  says  Dibdin,  "frequently  displays 
the  arms  of  these  noble  personages,"  (John,  Duke  of  Bedford, 
and  of  his  wife  Jane,  daughter  of  the  Duke  of  Burgundy,) 
"and  also  affords  a  pleasing  testimony  of  the  affectionate 
gallantry  of  the  pair :  the  motto  of  the  former  being  '  A 
VOUS  ENTIER  ;  '  that  of  the  latter,  '  j'EN  SUIS  CONTENTE.'  " 
Among  its  ornaments  are  emblems  or  symbols  of  the  twelve 
months,  and  a  large  variety  of  paintings  derived  from  the 
Sacred  Scriptures,  many  of  which  possess  an  emblematical 
meaning. 

Not  aiming  at  any  exhaustive  method  in  the  information  we 
gather  and  impart  respecting  Emblem  works  and  editions 
previous  to  the  year  A.D.  1500,  we  pass  by  the  very  numerous 
other  instances  in  support  of  our  theme  which  a  search  into 
manuscripts  would  supply.  The  "  Block-Books,"*  which,  in  the 
main,  are  especially  emblematical,  we  next  consider.  We  select 
two  instances  as  representative  of  the  whole  set ; — namely,  the 
"  BIBLIA  PAUPERUM,"  Bibles  of  the  Poor,  and  the  "  ARS  MEMO- 
RANDI,"  The  Art  of  Remembering. 

In  his  "  BIBLIOGRAPHICAL  DECAMERON,"  vol.  i.  p.  160, 
Dibdin  tells  us,  "  The  earliest  printed  book,  containing  text  and 
engravings  illustrative  of  scriptural  subjects,  is  called  the  His- 
tories of  Josepli,  Daniel,  Judith,  and  Esther.  This  was  executed 
in  the  German  language,  and  was  printed  by  Pfister  at  Bamberg 
in  1462.  It  is  among  the  rarest  of  typographical  curiositiea  in 
existence."  Dibdin's  dictum  is  considerably  modified,  if  not  set 
aside,  by  Noel  Humphreys  ;  who,  though  affirming,  p.  41,  that 
"  a  late  German  edition  of  the  Biblia  Pauperum  has  the  date 
1475,  but  that  before  that  period  editions  had  been  printed  at 


*  One  of  the  earliest  and  most  curious  of  the  Block-books,  Biblia  Pauperum, 
has  been  reproduced  in  fac-simile  by  Mr.  J.  Ph.  Berjeau,  from  a  copy  in  the  British 
Museum. 


46  EMBLEM-BOOK    LITERATURE,  [CHAP.  II. 

the  regular  press  with  moveable  types,  as,  for  instance,  that  of 
Pfister,  printed  at  Bamberg  in  1462," — yet  had  previously  de- 
clared, p.  39,  "  many  suppose  that  Laurens  Koster,  of  Haarlem, 
who  afterwards  invented  moveable  types,  was  one  of  the  earliest 
engravers  of  Block-books,  and  that  in  fact  the  Biblia  Pau- 
perum  was  actually  his  work."  "The  period  of  its  execution 
may  probably  be  estimated  as  lying  between  1410  and  1420  : 
probably  earlier,  but  certainly  not  later." 

The  earliest  editions  of  these  Biblia  Pauperuin  contain 
forty  leaves,  the  later  editions  fifty,  printed  only  on  one  side. 
Opposite  to  p.  40,  Noel  Humphreys  gives,  pi.  2,  "A  Page  from 
the  Biblia  Pauperum  generally  supposed  to  be  one  of  the 
earliest  block-books." 

Availing  ourselves  of  the  Author's  remarks,  p.  40,  we  yet 
prefer,  on  account  of  some  inaccuracies  in  his  decyphering  the 
Latin  contractions,  giving  our  own  description  of  this  plate. 
The  page  is  in  three  divisions,  all  in  the  Gothic  decorative  style, 
with  separating  archways  between  the  subjects.  In  the  upper 
division,  in  the  centre,  are  seated,  each  in  his  niche,  "  Isaya  "  and 
"  Dauid."  (See  Plate  VI.)  In  the  upper  corners,  on  the  right 
hand  of  the  first,  and  on  the  left  hand  of  the  second,  are  Latin 
inscriptions, — the  former  relating  to  Eve's  seed  bruising  the 
serpent's  head,  Genesis  iii.  c.,  and  the  latter  to  Gideon's  fleece 
saturated  with  dew,  Judges  vi.  c.  The  middle  compartment  is  a 
triptych,  consisting  of  Eve's  Temptation,  the  Annunciation  by 
the  Angel  to  the  Blessed  Virgin  ;  and  Gideon  in  his  armour,  on 
his  knees,  with  his  shield  on  the  ground,  watching  the  fleece. 
Over  Eve's  Temptation  there  is  a  scroll  issuing  from  Isaiah's 
niche,  and  having  this  inscription  :  "  Scce  bttgo  COrtriptet  t\  pattet 
filtUltt," — Behold  a  virgin  shall  conceive  and  bear  a  son,  Is.  vii.  14; 
Eve  stands  near  the  tree  of  life,  emblematized  by  God  the 
Father  among  the  branches, — and  erect  before  her  is  the  serpent, 
almost  on  the  tip  of  its  tail,  with  its  body  slightly  curved.  In 


>    6' 


SECT.  II.]  TO    A.D.     1500.  47 

the  Annunciation  appears  a  ray  of  light  breathed  upon  the 
Virgin  from  God  the  Father  seated  in  the  clouds,  and  in  the  ray 
are  the  dove,  the  emblem  of  the  Holy  Spirit,  descending,  and  an 
infant  Christ  bearing  his  cross  ;  the  Angel  stands  before  Mary 
addressing  to  her  the  salutation,  "  &be  gratia  plena,  fcomt'nug 
teCUtU,"—  Hail  full  of  grace,  the  Lord  is  with  thee,  Luke  i.  28  ;  and 
Mary,  seated  with  a  book  on  her  knees,  and  her  hands  devoutly 
crossed  on  her  breast,  replies,  "  <£cce,  ancilla  tiommt,  fiat  mtf)!',"— 
Behold,  the  handmaid  of  the  Lord,  be  it  ttnto  me,  Luke  i.  38.  Of 
Gideon  and  the  fleece  little  needs  be  said,  except  that  over  him 
from  the  niche  of  David  issues  a  scroll  with  the  words  "  IBeSCentfCt 

Irommus  strut  piubia  in  bellus,"  in  the  Latin  Vulgate,  Ps.  Ixxi.  6, 

i.e.  The  Lord  shall  descend  as  rain  upon  the  fleece  ;  but  in  the 
English  version,  Ps.  Ixxii.  6,  He  shall  come  down  like  rain  upon 
the  mown  grass.  The  Angel  also  addressing  Gideon  bears  a 
scroll,  not  quite  legible,  but  evidently  meaning,  "  Bomtnus  tmim 
bit'OWm  fOttt'SShne,"  Judges  vi.  12,  —  English  version,  The  Lord  is 
with  tJice,  tJiou  mighty  man  of  valour.  The  lower  compartment, 
like  the  upper,  has  in  the  centre  two  arched  niches,  which  con- 
tain, the  one  Ezekiel,  the  other  Jeremiah  ;  beneath  Eve's  temp- 
tation and  Gideon's  omen  are  the  alliterative  and  rhyming 
couplets 

bim  pertet,  and     "  t&ote  matot  bellus 

bi  paucnte  pucila."  IJermansit  artoa  tellus  ;  "  * 


and   beneath   the   Annunciation,     "  Uitgo    Sallltatttr, 
manens  Qtabttiatut." 

From  Ezekiel's  niche  issues  the  scroll,  Ez.  xliv.  2,  " 


*  Mr.  Humphreys  reads  "  Pluviam  sicut  arida  tellus  ;"  but  in  this,  as  in  two  or 
three  other  instances  in  this  pi.  2,  and  p.  40,  a  botanical  lens  will  show  that  the 
readings  are  those  which  I  have  given.  I  desire  here  to  express  to  him  my  obligation 
for  the  courteous  permission  to  make  use  of  pi.  2,  p.  40,  of  his  work,  for  a  photolith 
(see  Plate  VI.),  to  illustrate  my  remarks. 


48  EMBLEM-BOOK    LITERATURE,  [CHAP.  IT. 


ettt,  et  non  apettetur;"   and   from  Jeremiah's,  xxxi.  .22, 

"  (ftreabtt  Commits    nobum    super  tetram,    femtna  ctrcunrtralHt 
btrum." 

It  requires  no  argument  to  prove  the  emblematical  nature  of 
the  middle  compartment  of  this  page  from  the  Biblia  Paupe- 
rnm  ;  and  the  texts  on  scrolls  are  but  the  accessories  to  the 
devices,  and  serve  only  the  more  clearly  to  mark  this  Block- 
book  as  an  Emblem-book. 

Passing  by  similar  Block-books,  as  The  Book  of  Canticles, 
and  The  Apocalypse  of  St.  JO/MI,  we  will  conclude  the  sub- 
ject with  a  notice  of  Humphreys'  pi.  5,  following  p.  42  of  his 
text;  it  is  "A  Subject  from  the  Block-book  entitled  '  Ars 
memorandi,'  executed  probably  at  the  beginning  of  the  fifteenth 
century." 

"  The  entire  work,"  we  are  informed,  p.  42,  "  consists  of  the 
symbols  of  the  four  evangelists,  each  occupying  a  page,  and 
being  most  grotesquely  treated,  the  bull  of  St.  Luke  and  the 
lion  of  St.  Mark  standing  upright  on  their  hind  legs.  These 
symbols  are  surrounded  with  various  objects,  calculated  to  recall 
the  leading  events  in  their  respective  Gospels." 

But  the  whole  passage  in  explanation  of  the  Plate  is  so  much 
to  our  purpose,  that  we  ask  pardon  of  the  author  for  inserting  it 
entire.  He  says  :  — 

"The  page  I  have  selected  for  reproduction  is  the  fourth  'image  or 
symbol  '  of  St.  Matthew  —  the  Angel.  The  objects  grouped  around  are  many 
of  them  very  curious,  and,  without  the  assistance  of  the  accompanying 
explanations,  would  certainly  not  serve  to  aid  the  memory  of  the  modern 
Biblical  students.  The  symbolic  Angel  holds  in  the  left  hand  objects  num- 
bered 1  8,  which  by  the  explanation  we  learn  to  be  the  sun  and  moon, 
accompanied  by  an  unusual  arrangement  of  stars  and  planets  ;  intended  to 
recall  the  passage,  '  there  were  signs  in  the  sun  and  moon  '  —  erant  signa 
in  sole  et  lima.  I  give  the  text  of  monkish  explanation  in  MS.  No.  19,  the 
clasped  hands,  represents  marriage,  in  reference  to  the  generations  of  the 
Ancestors  of  Christ  as  enumerated  by  St.  Matthew.  No.  20,  the  cockle 


(t  outth  abjjfahs  31  yrehtanmir  bh 


-  <F 


tubciiwtahtii 

lnnptt&j 
ft  liumoui 


SECT.  II.]  TO    A.D.    1500.  49 

shell  and  the  bunch  of  grapes  are  emblems  of  travelling  and  pilgrimage,  and 
appear  to  represent  the  flight  into  Egypt ;  21,  the  head  of  an  ass,  is  intended 
to  recall  the  entrance  of  Christ  into  Jerusalem  riding  on  an  ass ;  22,  a  table, 
with  bread-knife  and  drinking  cup,  recalls  the  Last  Supper  (Ccena  magna)  ; 
and  the  accompanying  symbol,  without  a  number,  represents  the  census 
rendered  to  Caesar."* 

With  great  kindness  Mr.  Corser,  of  Stand,  offered  me,  in  the 
spring  of  1868,  the  use  of  a  very  choice  Block-book,  soon  after 
sold  for  .£415,  entitled  Historia  S.  Joan.  Evangelist,  per  Figuras, 
and  which  is,  I  believe,  the  very  copy  from  which  Sotheby's 
specimens  of  the  work  are  taken.  Whether  it  be  the  "  editio 
princeps"  as  a  former  owner  claimed  it  to  be,  is  doubted 
on  merely  conjectural  grounds  ;  but  a  most  precious  copy  it 
is,  internally  vindicating  its  claim  to  priority.  The  volume 
measures  2-82  decimetres  by  2*14;  or  n  inches  by  8*42.  There 
are  forty-eight  leaves,  in  perfect  preservation,  printed  on  one 
side.  The  figures,  all  coloured,  relate  either  to  the  traditions 
and  legends  of  the  Evangelist,  or  to  the  visions  of  the 
Apocalypse,  the  former  being  simply  pictorial,  the  latter  em- 
blematical. 

The  two  Plates  uncoloured  (Plate  VII.  and  Plate  VIII.) 
very  clearly  show  the  difference  between  the  mere  drawing 
and  the  device.  The  pictures  of  the  Evangelist  preaching,  of 
Drusiana  being  baptized,  and  of  the  search  after  John,  have 
no  meaning  beyond  the  historical  or  legendary  event ; — but 
the  two  wings  of  an  eagle  given  to  the  woman,  of  the  angel 
flying  with  a  book  above  the  tree  of  life,  of  the  dragon  per- 
secuting the  woman,  and  of  the  mother  -  church  passing 
into  the  desert :  these  have  a  meaning  beyond  that  of  the 


*  To  follow  out  the  subject  of  the  Biblia  Fauperum,  or  of  Block-books  in 
general,  the  Reader  may  consult  Sotheby's  Principia  typographica,  The  Block-Books, 
&c.,  3  vols.  4to,  London,  1858;  Dibdin's  Bibliotheca  Spenser i ana,  4  vols.  London, 
1814,  1815  ;  or  Berjeau's  Biblia  Paiipenim,  a  fac-simile  with  an  historical  introduction, 
4to  :  Triibner,  London,  1859. 

H 


50  EMBLEM-BOOK   LITERATURE,  [CHAP.  II. 

figures  delineated  ; — they  are  emblematical  of  hidden  truths  ; 
—so  are  all  the  other  plates  of  this  Block-book  which  repre- 
sent the  visions  of  the  Apocalypse.  The  date  is  probably 
1420  to  1425. 

The  Bodleian  Library  at  Oxford  is  very  rich  in  this  particular 
Block-book,  possessing  no  fewer  than  three  copies  of  the  History 
of  S.  John  the  Evangelist.  Among  its  treasures,  however,  is  a 
MS.  on  the  same  subject,  worth  them  all  by  reason  of  its  beauty 
and  exquisite  finish,  which  the  Block-books  certainly  do  not 
claim.  This  MS.,  on  fine  vellum  and  finely  drawn  and  illu- 
minated, is  said  to  have  been  written  in  the  twelfth  century,  and 
to  have  belonged  to  Henry  II. 

But  the  printing  with  moveable  types  is  firmly  established, 
and  Emblem-books  are  among  its  earliest  productions.  At 
Bamberg,  a  city  on  the  Regnitz,  near  its  influx  into  the  Main, 
the  first  purely  German  book  was  printed  in  1461,  by  the  same 
Pfister  who  published  an  edition  of  the  Biblia  Pauperum,  and 
who  probably  learned  his  art  at  Mayence  with  Guttenberg 
himself.  The  work  in  question  was  a  Collection  of  eighty-five 
Fables  in  German,  with  101  vignettes  cut  on  wood,  each 
accompanied  by  a  German  text  of  rhyming  verses.  The  first 
device,  says  Brunet,  vol.  i.  p.  1096,  represents  three  apes  and 
a  tree,  and  the  verses  begin  with — 

"  Once  on  a  time  came  an  ape  (gerat]  upright." 
The  colophon,  or  subscription,  at  the  end  informs  us, 

"  At  Bamberg  this  little  book  ended  is 
After  the  birth  of  our  Lord  Jesus  Christ, 
When  one  counts  a  thousand  four  hundred  year, 
And  to  it,  as  truth,  one  and  sixty  more, 
On  the  day  of  holy  Valentine  ; 
God  shield  us  from  the  wrath  divine.     Amen." 

The  fables  were  collected  by  Ulric  Boner,  a  Dominican  friar 


SECT.  II.]  TO    A.D.     1500.  51 

of  Bonn,  in  the  thirteenth  or  at  the  beginning  of  the  fourteenth 
century.  Their  chief  value  is  that  they  present  the  most  pre- 
cious remains  of  the  Minnesingers,  or  German  Troubadours,  and 
possess  much  grace,  and  "  une  moralite  piquante."  See  Biogra- 
phie  Universelle,  vol.  v.  pp.  97,  98 :  Paris,  1812;  and  vol.  xxxiii. 
p.  584:  Paris,  1823. 

Of  ^Esop's  Fables  in  Greek,  the  Milan  edition,  about  A.D. 
1480,  was  the  earliest.  There  had  been  Latin  versions,  pre- 
viously at  Rome  in  1473,  at  Bologna  and  Antwerp  in  1486, 
and  elsewhere.  The  German  translation  appeared  in  1473,  the 
Italian  in  1479,  the  French  and  the  English  in  1484,  and  the 
Spanish  in  1489.  Besides  these  there  were  at  least  thirty  other 
editions  previous  to  the  year  1500. 

It  has  been  doubted  if  Fables  should  be  classed  among 
the  Emblem  Literature, — but  whether  nude,  as  other  emblems 
have  been  named  when  unclothed  in  the  ornaments  of  wood 
or  copper  engravings,  or  adorned  with  richly  embellished 
devices,  they  are,  as  Whitney  would  name  them,  naturally 
emblematical.  Apart  from  whatever  artistic  skill  can  effect 
for  them,  they  have  in  themselves  meanings  to  be  evolved 
different  from  those  which  the  words  convey.  The  Lion, 
the  Fox,  and  the  Ass  are  not  simply  names  for  the 
veritable  animals,  but  emblems  of  different  characters  and 
qualities  among  the  human  race  ;  they  symbolize  moral 
sentiments  and  actions,  and  when  we  add  the  figures  of  the 
creatures,  though  we  may  make  pleasing  and  significant 
pictures,  we  do  little  for  the  real  development  of  the 
emblems. 

Books  of  Fables,  however,  are  so  numerous  that  they  and 
their  editors  may  be  counted  by  hundreds  ;  and  as  Dibdin 
intimates,  the  Bibliomaniac  who  had  gathered  up  all  the  editions 
of  ^Esop  in  nearly  all  the  languages  of  the  civilized  world, 
would  have  formed  a  very  considerable  library.  Only  on  a  few 


EMBLEM-BOOK   LITERATURE, 


[CHAP.   II. 


occasions  therefore  shall  we  make  mention  of  books  of  Fables  in 
our  present  inquiries. 

We  shall  not  however  pass  unnoticed,  since  it  belongs 
especially  to  this  period,  the  "  HBgalOpg  Cftteaturarum,"  or, 
Dialogues  of  the  Creatures,  a  collection  of  Latin  Fables, 
attributed  in  the  fourteenth  century  to  Nicolas  Pergaminus, 
first  printed  at  Gouda  in  Holland  by  Gerard  Leeu  in  1480, 
and  at  Stockholm  by  John  Snell  in  1483.  (See  Brunet,  vol.  ii. 
p.  674.)  A  French  version,  by  Colard  Mansion,  was  issued  at 
Lyons  in  1482,  Dialogue  des  Creatures  moralizie ;  and  an 
English  version,  about  1520,  by  J.  Rastall,  "  Powly's  Churche," 
London,  namely,  "The  Dialogue  of  Creatures  moralyzed,  of 
late  translated  out  of  latyn  in  to  our  English  tonge." 

There  were  various  editions  and  modifications  of  the  work,* 
but  perhaps  the  contrast  between  them  cannot  be  better  pointed 
out  than  by  selecting  the  Fable  of  the  Wolf  and  the  Ass  from 
the  Gouda  edition  of  1480,  and  also  from  the  Antwerp  edition 
of  1584.  The  original  edition,  with  the  woodcut  on  the  next 
page  in  mere  outline,  tells  in  simple  Latin  prose  how  a  wolf  and 
an  ass  were  sawing  a  log  of  wood  together.  From  good  nature 


*  As   in  Nourry's  Lyons  editions  of  1509  and   1511,   where  the  title  given  is, 
Jiestructortu  bttiortim  EX  sttmlittrtHnu   creaturantm   mmplorTt  appropriation  per 
tlialogt,"  &c. ;    Ige.    4to,    in   the   Corser   Library,    from   which   we   take — 

ft  SLuna. 


Lyons  ed,  1511. 


SECT.  II.] 


TO    A.D.    1500. 


53 


the  ass  worked  up  above,  the  wolf  through  maliciousness 
down  below,  desiring  to  find  an  opportunity  for  devouring  the 
ass ;  therefore  he  complained  that  the  ass  was  sending  the 


Dyalogus  Great.,  ed.  1480. 

sawdust  into  his  eyes.  The  ass  replied,  "It  is  not  I  who  am 
doing  this, — I  only  guide  the  saw.  If  you  wish  to  saw  up 
above  I  am  content, — I  will  work  faithfully  down  below."  And 
so  they  talked  on,  until  the  wolf  threatening  revenge  drew  back, 
and  the  fissure  in  the  beam  being  suddenly  widened,  the  wedge 
fell  upon  the  wolf's  head,  and  the  wolf  himself  was  killed. 


54 


EMBLEM-BOOK   LITERATURE, 


[CHAP.  II. 


The  Antwerp  edition  of  1584*  changes  the  simple  Latin  prose 
into  the  elegant  Latin  elegiacs  of  John  Moerman,  and  the  outline 
woodcuts  of  an  unknown  artist  into  the  copperplate  engravings 
of  Gerard  de  Jode,  the  eldest  of  four  generations  of  engravers. 
THE  WOLF  and  THE  Ass  are  made  to  emblematize,  "  scelesti 
hominis  imago  et  exitus," — the  image  and  end  of  a  wicked  man. 
Moerman's  Latin  may  thus  be  rendered,  from  leaf  54,  ed.  1584  : — 

"  The  Wolf  and  careless  Ass  a  treaty  made, 

Both  studious  with  a  saw  a  beam  to  rive  ; — 
The  ready  Ass  above  directs  the  blade, 

The  Wolf  doth  down  below  deceit  contrive. 
He  seeks  for  cause  the  wretched  Ass  to  slay, 

And  cries, — '  With  sawdust  much  thou  troublest  me, — 
The  trouble  check,  or  with  these  teeth,  I  say, 

My  spoil  to  be  devoured  thou  straight  shalt  be.' 
To  this  the  Ass, — '  Friend  Wolf,  be  not  annoyed  ; 

Guileless  the  saw  I  guide  with  might  and  main.' 
But  soon  the  long-eared  brute  would  be  destroyed, 

When  falls  the  wedge  ; — ah  !  'tis  the  Wolf  is  slain." 


Apologi  Creaturarum,  1584. 


*  The  Title  is  "  APOLOGI  CREATVRARVM;"  "  Vtilia  prudenti,  imprudenti  futilia. 
G.  dejodeexcu.  1584." 


SECT.  II.]  TO    A.D.    1500.  55 

MORAL. 

"  Insonti  qui  insidias  struit,  ipse  perit." 
"  Who  for  the  innocent  spreads  snares, 
Himself  shall  perish  unawares." 

"  The  wicked  man  his  nets  doth  spread 

The  innocent  to  take  the  while  j 
But  who  would  harm  his  brother's  head 

Doth  perish  from  his  selfish  guile. 
God  will  not  deem  him  innocent, 

Nor  raise  him  to  the  stars  above, 
Who  on  unrighteous  thoughts  is  bent. 

Or  neighbours  serves  with  feigned  love. 
But  after  death  to  the  fiery  marsh 

OfPhlegethon  shall  he  be  hurled, 
Where  Tartarean  Pluto  harsh 

With  hated  sceptres  rules  a  world" 

As  in  the  Blandford  Catalogue,  it  has  been  usual  to  count 
among  Emblem-books  the  "  ECATONPHYLA,"  printed  at  Venice 
in  1491.  The  French  translation  of  1536  describes  the  title  as, 
"signifiat  centiesme  amour,  sciemment  appropriees  a  la  dame 
ayat  en  elle  autant  damour  que  cent  aultres  dames  en  pouroient 
comprendre,"  signifying  a  hundredth  love,  knowingly  appropriated 
to  the  lady  having  in  her  as  much  love  as  a  hundred  other  ladies 
could  possibly  compreJiend.  (Brunet's  Manuel,  i.  c.  131,  132.)  The 
author  of  this  work,  of  which  there  are  several  editions,  was  the 
celebrated  Italian  architect,  Leoni-Baptista  Alberti,  born  of  a 
noble  family  of  Florence  in  1398,  and  living  as  some  suppose  up 
to  1480.  He  was  a  universal  scholar,  a  doctor  of  laws,  a  priest, 
a  painter,  and  a  good  mechanic. 

We  are  inclined  to  ask  whether  Gli  Trionfi  del  Petrarcha, 
printed  at  Bologna  in  1475, — especially,  when  as  in  the  Venice 
editions  of  1500  and  1523  they  were  adorned  by  the  vignettes 
and  wood  engravings  of  Zoan  Andrea  Veneziano, — whether 
these  "  Triumphs  of  Love,  Chastity,  and  Death  "  may  not,  from 


56  EMBLEM-BOOK   LITERATURE,  [CHAP.  II. 

their  highly  allegorical  character,  be  included  among  the 
Emblem-books  of  this  age  ?*  The  same  question  we  might  ask 
respecting  "  Bag  J^ettrenfmcj)," — The  Book  of  Heroes, — printed 
at  Augsburg,  in  14/7,  by  Gunther  Zainer,  who  had  first  been  a 
printer  at  Cracow  about  1465  ;  and  also  concerning  the  "  ittttt 

(ftrontcarum  cu  figurte  et  tmagtntiwg  aft  tntcto  mfltot,"  a  large  folio 

known  as  the  Chronicles  of  Nuremberg,  which  with  its  2000  fine 
wood  engravings,  attributed  to  Michael  Wohlgemuth,  was 
published  in  that  city  in  1493.! 

The  original  "  Clfttentatt?,"  or  Dance  of  Death,  painted  as  a 
memorial  of  the  plague  which  raged  during  the  Council  of  Bale, 
held  between  1431  and  1446  (Bryan,  p.  335),  certainly  was  not 
the  work  of  either  of  the  Holbeins.  There  are  several  repre- 
sentations of  a  Death-dance  in  the  fifteenth  century,  between 
1485  and  1496  (Brunet,  v.  873,  874) ;  and  there  can  be  little 
doubt  of  their  emblematical  character.  The  renowned  Dance 
of  Death  by  Hans  Holbein  the  younger  we  will  reserve  for  its 
proper  place  in  the  next  section. 

We  must  not  however  leave  unmentioned  TJte  Dance  of  Ma- 
caber,  especially  as  it  is  presented  to  us  in  an  English  form  by  John 
Lydgate,  a  monk  of  the  Benedictine  abbey  of  Bury  St.  Edmunds, 
who  was  born  about  1375,  and  attained  his  greatest  eminence 
about  1430.  His  own  power  for  supplying  the  materials  for  an 
Emblem-device  we  observe  in  the  lines  on  "  God's  Providence." 

"  God  hath  a  thousand  hande*s  to  chastise  ; 
A  thousand  dartds  of  punicion  ; 
A  thousand  bowds  made  in  divers  wise  ; 
A  thousand  arlblasts  bent  in  his  dongeon." 

*  An  English  translation,  with  wood  engravings,  appeared  about  the  time  of 
Shakespeare's  birth,  it  may  be  a  few  years  earlier: — The  Tryumphes  of  Fraunces 
Petrarche,  "translated  out  of  Italian  into  English  by  Herye  Parker  knyght,  lorde 
Morley,"  sm.  4to. 

t  See  Brunei's  Manuel,  iii.  c.  85,  and  i.  c.  1860  ;  Biog.  Universelle, 
"Zainer;"  Timpeiiey's  Dictionary  of  Printers,  p.  197;  and  Bryan's  Diet,  of 
Engravers,  p.  918. 


StultifrralHattfo 


lHarra0ontr  f  <pf«ti0ni0  twrap 

f ads laudata  Nairisiper  Sebaftiatiu  Brant: vcrnaculo  vaU 
garicffermone  ^crhythmo/^pcuAo^  mortaliu  fatuirans 
femitas  effugere  cupietiu  dire<fti'one/fp^culo  /comodocj  8C 
falute:procj  inertfs  {gnaufcfftultitif  ppetuamfamia/exc- 
cratione/6iconfut^tione/nu^  fabricata:  Atcf  iampridem 
per  lacobum  Lochcr /cognometo  Philomufum :  Sug  uu  u'ti 
latfnu  traduda  eloquiu;&per  Sebaftianu  Brant  denuo 
fcdulocj  reuifa/&nouaqdaexa&acpemendat6e  elitnata: 
atqp  fupadditis  g^bufda  noui's/admiradi'fcg fatuo^  generi- 
bus  fupplcta  ;faelici  cxorditurprinicipio* 

.1497* 
Nihilfmecaufa, 


SECT.  II.]  TO    A.D.     1500.  57 

For  an  account  of  Lydgate's  Dance  of  Macaber,  and  indeed 
for  his  version  in  English,  we  should  do  well  to  consult  the 
remarks  by  Francis  Douce,  in  Wenceslaus  Hollar's  Dance  of 
Death,  published  about  the  year  1/90,  and  more  particularly 
the  remarks  in  Douce's  Dissertation,  edition  1833. 

The  earliest  known  edition  of  La  Danse  Macabre,  originally 
composed  in  German,  is  dated  at  Paris,  1484,  but  before  the 
completion  of  the  century  there  were  seven  or  eight  other 
reprints,  some  with  alterations  and  others  with  additions.  It 
was  a  most  popular  work,  issued  at  least  eight  or  ten  times 
during  the  sixteenth  century,  and  still  exciting  interest.*  At 
p.  39  may  be  seen  copies  of  some  of  the  devices  as  used  by 
Verard. 

The  chief  Emblem  deviser  and  writer  towards  the  end  of  the 
century  was  Sebastian  Brandt,  born  at  Strasburg  in  1458,  and 
after  a  life  of  great  usefulness  and  honour  dying  at  Bale  in  1520. 
The  publication  in  German  Iambic  verse  of  his  "  iHLatltftt 
ScSSff/'  Bale,  Nuremberg,  Ruttlingen,  and  Augsburg,  A.D.  1494, 
forms  quite  an  epoch  in  Emblem-book  literature.  Previous 
to  A.D.  1500,  Locker,  crowned  poet  laureate  by  the  Emperor 
Maximilian  I.,  translated  the  German  into  Latin  verse,  with  the 
title  "  Stulttfera  iHatUS  "  (see  Plate  IX.) ;  Riviere  of  Poitiers, 
the  Latin  into  French  verse,  "Ha  Jirf  tog  dFdlj  &U  Jftonfce;" 
and  Droyn  of  Amiens,  into  French  prose,  "  Ha  gtat  $Lti  tie8  dftl£ 
tJU  jftflontie."  Early  in  the  next  century,  1504,  or  even  in  1500, 
there  was  a  Flemish  version  ;  and  in  1509  two  English  versions, 
—one  translated  out  of  French,  "  THE  SHYPPE  OF  FOOLES,"  by 
Henry  Watson,  and  printed  by  "  Wynkyn  de  Worde,  MCCCCCIX." 
(see  Dibdin's  Tour,  ii.  p.  103);  the  other,  — "  STULTIFERA 
NAUIS,"  or  "  Cf)e  £j)SP  of  dFolfiS  of  tfje  aaaorfte ; "  "  Inprentyd 

in  the  Cyte  of  London,  by  Richard  Pynson,  M.D.IX."     (Dibdin's 

*  Langlois  in  his  Essai,  pp.  331—340,  names  thirty-two  editions  previous  to  A.D.  1730. 

I 


58  EMBLEM-BOOK   LITERATURE,  [CHAP.  II. 

Typ.  Ant.  ii.  p.  431.)  This  latter  was  "translated  out  of  Latin, 
French,  and  Duck  into  Englishe,  by  Alexander  Barclay,  Priest ;" 
and  reprinted  in  1570,  during  Shakespeare's  childhood  by  the 
"Printer  to  the  Queenes  Maiestie."  At  the  same  time,  1570, 
another  work  by  Barclay  was  published,  which,  although 
without  devices,  partakes  of  an  allegorical  or  even  of  an 
emblematical  character ;  it  is  The  Mirrour  of  good  Matters ; 
"  conteining  the  foure  Cardinal  Vertues." 

Dibdin,  in  his  Bibliographical  Antiquarian,  iii.  p.  101, 
mentions  "  a  pretty  little  volume — '  as  fresh  as  a  daisy/  the 
Hortulus  Rosarum  de  Valle  Lachrymarum,  '  A  little  Garden  of 
Roses  from  the  Valley  of  Tears'  (to  which  a  Latin  ode  by 
S.  Brandt  is  prefixed),  printed  by  J.  de  Olpe  in  1499," — but 
he  gives  no  intimation  of  its  character ;  conjecturing  from  its 
title  and  from  the  woodcuts  with  which  it  is  adorned,  it  will 
probably  on  further  inquiry  be  found  to  bear  an  emblematical 
meaning. 

Dibdin  also,  in  the  same  work,  iii.  p.  294,  names  "  a  German 
version  of  the  '  HORTULUS  ANINLE'  of  S.  Brant,"  in  manu- 
script ;  "  undoubtedly,"  he  says,  "  among  the  loveliest  books  in 
the  Imperial  Library."  The  Latin  edition  was  printed  at 
Strasburg  in  1498,  and  is  ornamented  with  figures  on  wood  ; 
many  of  these  are  mere  pictures,  without  any  symbolical 
meaning, — but  it  often  is  the  case  that  the  illuminated  manu- 
scripts, especially  if  devotional,  and  the  early  printed  books  of 
every  kind  that  have  pictorial  illustrations  in  them,  present 
various  examples  of  symbolical  and  emblematical  devices. 

The  last  works  we  shall  name  of  the  period  antecedent  to 
A.D.  1501,  are  due  to  the  industry  and  skill  of  John  Sicile, 
herald  at  arms  to  Alphonso  King  of  Aragon,  who  died  in  1458. 
Sicile,  it  seems,  prepared  two  manuscripts,  one  the  Blazonry  of 
Arms, — the  other,  the  Blazonry  of  Colours.  Of  the  former  there 
was  an  edition  printed  at  Paris  in  1495,  Le  BLASON  de  toutes 


SECT.  II.]  TO    A.D.    1500.  59 

Armes  et  Ecutz,  &c. — and  of  the  latter  at  Lyons  early  in  the 
sixteenth  century,  Le  Blason  des  Couleurs  en  Armes,  Liurees  et 
deuises.  Within  an  hundred  years,  ending  with  1595,  above 
sixteen  editions  of  the  two  works  were  issued. 

Several  other  authors  there  are  belonging  to  the  period  of 
which  we  treat, — but  enough  have  been  named  to  show  to  what 
an  extent  Emblem  devices  and  Emblem-books  had  been 
adopted,  and  with  what  an  impetus  the  invention  of  moveable 
types  and  greater  skill  in  engraving  had  acted  to  multiply  the 
departments  of  the  Emblem  Literature.  It  was  an  impetus 
which  gathered  new  strength  in  its  course,  and  which,  previous 
to  Shakespeare's  youth  and  maturity,  had  made  an  entrance 
into  almost  every  European  nation.  Already  in  1500,  from 
Sweden  to  Italy  and  from  Poland  to  Spain,  the  touch  was  felt 
which  was  to  awaken  nearly  every  city  to  the  west  of 
Constantinople,  to  share  in  the  supposed  honours  of  adding  to 
the  number  of  Emblem  volumes. 


Pic  fa  Pofsis,  1552. 


60  EMBLEM-BOOK    LITERATURE.  [CHAP.  IT. 


SECTION    III. 

OTHER    EMBLEM    WORKS   AND    EDITIONS   BETWEEN 
A.D.    1500   AND    1564. 

ABORIOUS  in  some  degree  is  the  enterprise  which 
the  title  of  this  Section  will  indicate  before  it  shall 
be  ended.  Perchance  we  shall  have  no  myths  to 
perplex  us,  but  the  demands  of  sober  history  are  often  more 
inexorable  than  those  flexible  boundaries  within  which  the 
imagination  may  disport  amid  facts  and  fictions. 

Better,  as  I  trust,  to  set  this  period  of  sixty-three  years  before 
the  mind,  it  may  be  well  to  take  it  in  three  divisions  :  1st,  the 
twenty-one  years  before  Alciatus  appeared,  to  conquer  for  himself 
a  kingdom,  and  to  reign  king  of  Emblematists  for  about  a  century 
and  a  half ;  2nd,  the  twenty-one  years  from  the  appearance  of  the 
first  edition  of  Alciat's  Emblems  in  1522  at  Milan,  until  Hans 
Holbein  the  younger  had  introduced  the  Images  and  Epigrams  of 
Death,  and  La  Perriere  and  Corrozet,  the  one  his  Theatre  of  good 
Contrivances  in  one  hundred  Emblems ;  and  the  other  his  Hecatom- 
graphie,  or  descriptions  of  one  hundred  figures  ;  3rd,  the  twenty- 
one  years  up  to  Shakespeare's  birth,  distinguished  towards  its 
close  chiefly  by  the  Italian  writers  on  Imprese,  Paolo  Giovio, 
Vincenzo  Cartari,  Girolamo  Ruscelli,  and  Gabriel  Symeoni. 

I. — A  Fool-freighted  Ship  was  the  title  of  almost  the  last  book 
of  the  fifteenth  century, — by  a  similar  title  is  the  Emblem-book 
called  which  was  launched  at  the  beginning  of  the  sixteenth 


SECT.  III.] 


FROM   A.D.    1500    TO    1522. 


61 


century;  it  is,  "  00trOCt  23atm  afcesii  Stultifere  nauicule  seu 
scaphe  Fatuarum  mulierum  :  circa  sensus  quinq  exteriores 
fraude  nauigantium," — The  Fool-freighted  little  ships  of  Jossc 
Radius  ascensins,  or  the  skiffs  of  Silly  women  in  delusion  sailing' 
about  the  five  outzvard  senses, — "  printed  by  honest  John  Prusz,  a 
citizen  of  Strasburg,  in  the  year  of  Salvation  M.CCCCC.II."  There 
was  an  earlier  edition  in  1500, — but  almost  exactly  the  same. 
From  that  before  us  we  give  a  specimen  of  the  work,  The  Skiff 


Stulte 


$caj>f)a. 


Radius,  1502. 

of  Foolish  Tasting.  A  discourse  follows,  with  quotations  from 
Aulus  Gellius,  Saint  Jerome,  Virgil,  Ezekiel,  Epicurus,  Seneca, 
Horace,  and  Juvenal ;  and  the  discourse  is  crowned  by  twenty- 
four  lines  of  Latin  elegiacs,  entitled  "  (EeleuCma  <S5rliftatt'om!8 
," — The  Oarsman's  cry  for  silly  Tasting, — thus  exhorting— 


62  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

"  Slothful  chieftains  of  the  gullet ! 

Offspring  of  Sardanapalus  ! 
In  sweet  sleep  no  longer  lull  it, — 

Rouse  ye,  lest  good  cheer  should  fail  us. 
Gentle  winds  to  pleasures  calling 

Waft  to  regions  soft  and  slow  ; 
On  a  thousand  dishes  falling, 

How  our  palates  burn  and  glow! 
Suppers  of  Lucillus  name  not, 

Ancient  faith  !  nor  plate  of  veal ; 
Ancient  faith  to  luncheon  came  not 

Crowned  with  flowers  that  age  conceal. 
Let  none  boast  of  pontiff's  dishes, — 

Nor  Mars'  priests  their  suppers  spread  ; 
Alban  banquets  bless  our  wishes, — 

Caesar's  garlands  deck  our  head. 
Now  the  dish  of  ^sop  yielding, 

Apicius  all  his  luxuries  pours  ; 
And  Ptolomies  the  sceptres  wielding 

Richest  viands  give  in  showers." 

And  so  on,  until  in  the  concluding  stanza  Badius  declares — 

"If  great  Jove  himself  invited 

At  our  feasting  takes  his  seat, 
Jove  would  say,  '  I  am  delighted, — 

Not  in  heaven  have  I  such  meat/ 
Therefore,  stupids  !  what  of  summer 

Enters  now  our  pinnace  gay, — 
Onward  in  three  hours  'twill  bear  us 

Where  kingdoms  blessed  bid  us  stay."  * 

The  same  work  was  published  in  another  form,  "  La  nef  des 
folles,  selon  les  cinq  sens  de  nature,  compose  selon  levangile  de 
monseigneur  saint  Mathieu,  des  cinq  vierges  qui  ne  prindrent 
point  duylle  avec  eulx  pour  mectre  en  leurs  lampes  :  "  Paris  4to, 
about  1501. 

*  Be  lenient,  gentle  Reader,  if  you  chance  to  compare  the  above  translation  with 
the  original ;  for  even  should  you  have  learned  by  heart  the  two  very  large  410  volumes 
of  Forcellini's  Lexicon  of  all  Latlnity^  I  believe  you  will  find  some  nuts  you  cannot 
crack  in  the  Latin  verses  of  Jodocus  Badius. 


SECT.  III.]  FROM    A.D.    1500    TO    1522.  63 

Of  Badius  himself,  born  in  1462  and  dying  in  1535,  it  is  to  be 
said  that  he  was  a  man  of  very  considerable  learning,  professor 
of  "belles  lettres  "  at  Lyons  from  1491  to  1511,  when  he  was 
tempted  to  settle  in  Paris.  There  he  established  the  famous 
Ascensian  Printing  Press, — and  like  Plantin  of  Antwerp,  gave 
his  three  daughters  in  marriage  to  three  very  celebrated 
printers  :  Michel  Vascosan,  Robert  Etienne,  and  Jean  de  Poigny. 
He  was  the  author  of  several  works  besides  those  that  have 
been  mentioned.  (Biog.  Univ.  vol.  iii.  p.  201.) 

Symphorien  Champier,  Doctor  in  Theology  and  Medicine,  a 
native  of  Lyons,  who  was  physician  to  Anthony  Duke  of 
Lorraine  when  he  accompanied  Louis  XII.  to  the  Italian  war, 
graduated  at  Pavia  in  1515,  and,  after  laying  the  foundations  of 
the  Lyons  College  of  Physicians,  and  enjoying  the  highest 
honours  of  his  native  city,  died  about  1540.  (Aikin's  Biog.  ii. 
579.)  His  medical  and  other  works  are  of  little  repute,  but 
among  them  are  two  or  three  which  may  be  regarded  as  imita- 
tions of  Emblem-books.  We  will  just  name, — Balsat's  work 
with  Champier's  additions,  La  Nef  des  Princes  et  des  Batailles 
de  Noblesse,  &c.  (Lyons,  4to  goth.  with  woodcuts,  A.D.  1502.)  ; 
also,  La  Nef  des  Dames  vertnenses  coposee  par  Maistre  Simphorie 
Champier,  &c.  (Lyons,  4to  goth.  with  woodcuts,  A.D.  1503.) 

"  Bible  figures,"  too,  again  have  a  claim  to  notice.     A  very  fine 

copy  of  "  3Les  figures  tiu  bteii  ^Testament,  &  tin  noituel,"  which 

belonged  to  the  Rev.  T.  Corser,  Rector  of  Stand,  near  Man- 
chester, supplies  the  opportunity  of  noticing  that  it  is  decidedly 
an  Emblem  work.  It  is  a  folio,  of  100  leaves,  containing  forty- 
one  plates,  of  which  one  is  introductory,  and  forty  are  on 
Scriptural  subjects,  unarranged  in  order  either  of  time  or  place. 
The  work  was  published  in  Paris  in  1503  by  Anthoine  Verard, 
and  is  certainly,  as  Brunet  declares,  ii.  c.  1254,  "  une  imitation 
de  1'ouvrage  connu  sous  le  nom  de  Biblia  Pauperum"  There 
are  forty  sets  of  figures  in  triptychs,  the  wood  engravings 


64  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

being  very  bold  and  good.  Each  is  preceded  or  followed  by  a 
French  stanza  of  eight  lines,  declaring  the  subject  ;  and  has 
appended  two  or  three  pages  of  Exposition,  also  in  French. 
The  Device  pages,  each  in  three  compartments,  are  in  Latin, 
and  may  thus  be  described.  At  the  top  to  the  left  hand,  a 
quotation  from  the  Vulgate  appropriate  to  the  pictorial  repre- 
sentation beneath  it ;  in  the  centre  two  niches,  of  which  David 
always  occupies  one,  and  some  writer  of  the  Old  Testament 
the  other,  a  scroll  issuing  from  each  niche.  The  middle  com- 
partment is  filled  by  a  triptych,  the  centre  subject  from  the  New 
Testament,  the  right  and  left  from  the  Old.  At  the  bottom  are 
Latin  verses  to  the  right  and  left,  with  two  niches  in  the  centre 
occupied  by  biblical  writers.  The  Latin  verses  are  rhyming 
couplets,  as  on  fol.  a.  iiij,  beneath  Moses  at  the  burning  bush, 

"  Hucet  et  tgnefctt,  Crtr  turn  ruiws  tgne  caleCctt," — It  shines  and 

flames,  but  the  bush  is  not  heated  by  the  fire.  In  triptych,  on 
p.  i.  rev.  are,  Enoch's  Translation,  Christ's  Ascension,  and  the 
Translation  of  Elijah. 

The  Aldine  press  at  Venice,  A.D.  1505,  gave  the  world  the 
first  printed  edition  of  the  "  HlEROGLYPHlCA "  of  Horapollo. 
It  was  in  folio,  having  in  the  same  volume  the  Fables  of  JEsop, 
of  Gabrias,  &c.  See  Leemans'  Horapollo,  pp.  xxix — xxxv.  A 
Latin  version  by  Bernard  Trebatius  was  published  at  Augsburg 
in  1515,  at  Bale  in  1518,  and  at  Paris  in  1521;  and  another 
Latin  version  by  Phil.  Phasianinus,  at  Bologna  in  1517.  Previous 
to  Shakespeare's  birth  there  were  translations  into  French  in 
1543,  into  Italian  in  1548,  and  into  German  in  1554, — and  down 
to  1616  sixteen  other  editions  may  readily  be  counted  up. 

John  Haller,  who  had  introduced  printing  into  Cracow  in 
1500,  published  in  1507  the  first  attempt  to  teach  logic  by 
means  of  a  game  of  cards  ;  it  was  in  Murner's  quarto  entitled, 
"  CHARTILUDIUM  logic^  seu  Logica  poetica  vel  memorativa 
cum  jocundo  Pictasmatis  Exercimento," — A  Card-game  of  Logic, 


SECT.  III.]  FROM   A.D.     1500     TO    1522.  65 

or  Logic  poetical  or  memorial,  with  the  pleasant  Exercise  of  pic- 
tured Representation.  It  is  a  curious  and  ingenious  work,  and 
reprints  of  it  appeared  at  Strasburg  in  1509  and  1518  ;  at  Paris, 
by  Balesdens,  in  1629 ;  and  again  in  1650,  4to,  by  Peter 
Guischet.  As  an  imitation  of  Brandt's  Ship  of  Fools,  so  far  as 
it  relates  to  the  follies  and  caprices  of  mankind,  mention  should 
also  be  made  of  Murner's  "  Barren  i3egd)to6nwg," — Exorcism 
of  Fools, — Strasburg,  4to,  1512  and  1518;  which  certainly  at 
Francfort,  in  1620,  gave  origin  to  Flitner's  "NEBVLO  NEBVLO- 
NVM,"— or,  Rascal  of  Rascals. 

"Spmilu  Itactfttetum  theologycis  Consolationibus  Fratris 
loannis  de  Tambaco," — The  Mirror  of  Patience  with  the  theo- 
logical Consolations  of  Brother  John  Tambaco, — Nuremberg, 
MCCCCCIX.,  4to,  is  a  work  of  much  curiousness.  On  the  reverse 
of  the  title  is  an  Emblematical  device  of  Job,  Job's  wife,  and 
the  Devil,  followed  by  exhortations  to  patience  ;  and  on  the 
reverse  of  the  introduction  to  the  second  part,  also  an  Emble- 
matical device, — the  Queen  of  Consolation,  with  her  four  maidens 
by  her  side,  and  two  men  kneeling  before  her.  The  chapters  on 
consolation  are  generally  in  the  form  of  sermonettes,  in  which 
the  maidens,  three  or  four,  or  even  a  dozen,  expatiate  on 
different  subjects  proper  for  reproof,  exhortation,  and  comfort. 
The  devices  in  this  volume  are  understood  to  be  from  the  pencil 
of  Albert  Durer. 

This  same  year,  1509,  witnessed  two  English  translations,  or 
paraphrases,  of  Brandt's  "  Jlartett  &cf)tf,"— the  one  The  Shyppe 
of  Fooles,  taken  from  the  French  by  Henry  Watson,  and  printed 
by  De  Worde  ; — the  other  rendered  out  of  Latin,  German,  and 
French,  TJie  Ship  of  Fooles,  by  Alexander  Barclay,  and  printed 
by  Pinson.  Of  Watson  little,  if  anything,  is  known,  but  Barclay 
is  regarded  as  one  of  the  improvers  of  the  English  tongue,  and 
to  him  it  is  chiefly  owing  that  a  true  Emblem-book  was  made 
popular  in  England. 


66  EMBLEM-BOOK   LITERATURE.  {CHAP.  II. 


Of  the  "  UgalogiliS  CitoatUrarum,"  written  in  the  fourteenth 
century  by  Nicolas  Pergaminus,  and  printed  by  Gerard  Leeu, 
at  Gouda,  in  1480,  an  English  version  appeared  about  1520,  — 
"The  dialogue  of  Creatures  moralyzed,  of  late  translated  out 
of  Latyn  in  to  our  English  tonge." 

The  famous  preacher  and  the  founder  of  the  first  public 
school  in  Strasburg  was  John  Geyler,  born  in  1445.  He  was 
highly  esteemed  by  the  Emperor  Maximilian,  and  after  a 
ministry  of  about  thirty  years,  died  in  1510.  Two  Emblem- 
books  were  left  by  him,  both  published  in  1511  by  James 

Other;  —  the  one  "  Jiabtcula  ftbe  Speculu  dFatitotwm,"—  The 
little  Ship  or  Mirror  of  Fools  ;  the  other,  "  jBtabtCltla  ^enttentte," 
—  The  little  Ship  of  Penitence.  To  the  first  there  are  no  em- 
blems and  112  devices,  each  having  a  discourse  delivered  on  one 
of  the  Sabbaths  or  festivals  of  the  Catholic  Church  —  the  text 
always  being,  Stultorum  infinitus  est,  —  "  Infinite  is  the  number 
of  fools."  The  second,  not  strictly  an  Emblem-book,  is  devoted 
"  to  the  praise  of  God  and  the  salvation  of  souls  in  Strasburg," 
and  consists  really  of  a  series  of  sermons  for  Lent  and  other  sea- 
sons of  the  year,  but  all  having  the  same  text,  Ecce  ascendimus 
Hierosolimam,  —  "  Behold  we  go  up  to  Jerusalem."  There  were 
several  reprints  of  both  the  works,  and  two  German  translations  ; 
and  the  edition  of  1520,  folio,  with  wood  engravings,  is  remark- 
able for  being  the  first  book  to  which  was  granted  the  "  Imperial 
privilege."  It  is  said  that  the  rhymes  of  Brandt's  Ship  of  Fools 
which  Geyler  had  translated  into  Latin  in  1498,  not  unfrequently 
served  him  for  texts  and  quotations  for  his  sermons.  Alas  !  we 
have  no  such  lively  preachers  in  these  sleepy  days  of  perfect 
propriety  of  phrase  and  person.  Our  prophets,  in  putting  away 
"  locusts  and  wild  honey,"  too  often  forget  to  cry,  "  Repent,  for 
the  kingdom  of  heaven  is  at  hand." 

Next,  however,  to  the  famous  preacher,  we  name  a  notorious 
prophet,  the  Abbot  Joachim,  who  died  between  the  years  1201 


SECT,  ill.]  FROM   A.D.     1500     TO    1522.  67 

and  1202,  but  whose  works,  if  they  really  were  his,  did  not 
appear  in  print,  until  the  folio  edition  was  issued  about  1475, — 
Revelations  concerning  the  State  of  the  chief  Pontiffs.  An  Italian 
version,  "  PROPHETIA  dello  Abbate  Joachimo  circa  li  Pontefici 
&  Re,"  appeared  in  1515  ;  and  another  Latin  edition,  with  wood 
engravings,  by  Marc-Antoine  Raimondi,  in  1516.*  Many  tales 
are  related  of  the  Abbot  and  of  his  followers ;  suffice  it  to  say, 
that  they  maintained  the  Gospel  of  Christ  would  be  abolished 
A.D.  1260;  and  thenceforward  Joachim's  "  true  and  everlasting 
Gospel "  was  to  be  prevalent  in  the  world. 

According  to  the  Blandford  Catalogue,  p.  6,  we  should  here 
insert  P.  Dupont's  Satyriques  Grotesques  (Desseins  Orig.),  8vo, 
Paris,  1513;  but  it  may  be  passed  over  with  the  simplest  notice. 

If  we  judge  from  the  wonderfully  beautiful  copy  on  finest 
vellum  in  the  Hunterian  Museum  at  Glasgow,  the  next 
Emblem-book  surpasses  all  others  we  have  named ;  it  is  the 
"  STetottfanttCfd)  " — or,  Dear-thought, — usually  attributed  to  Mel- 
chior  Pfintzing,  a  German  poet,  born  at  Nuremberg  in  1481,  and 
who  at  one  time  was  secretary  to  the  Emperor  Maximilian. 
The  poem  is  allegorical  and  chivalric,  and  adorned  with  118 
plates,  some  of  which  are  considered  the  workmanship  of  Albert 
Durer.f 

The  Tewrdanck  was  intended  to  set  forth  the  dangers  and 
love  adventures  of  the  emperor  himself  on  occasion  of  his 

*  For  a  very  good  account  of  Joachim's  supposed  works,  consult  a  paper  in 
Notes  and  Queries,  September,  1862,  pp.  181-3,  bv  Mr-  Jones,  the  excellent 
Librarian  of  the  Chetham  Library,  Manchester;  and  for  an  account  of  the  man, 
Aikin's  General  Biography,  v.  pp.  478-80. 

f  The  "  @t;rem?forte,"  or  Triumphal  Arch,  about  1515,  and  the  "  £ttum#jtoagen,"  or 
Triumphal  Car,  A.D.  1522,  both  in  honour  of  Maximilian  I.,  are  among  the  noblest 
of  Durer's  engravings  ;  but  the  Biographic  Uni-verselle,  t.  33,  p.  582,  attributes  the 
engravings  in  the  "£en>rtanncf$ "  to  Hans  Shaeufflein  the  younger,  who  was  born  at 
Nuremberg  about  1487  ;  and  with  this  agrees  Stanley's  Diet,  of  Engravers,  ed.  1849, 
p.  705.  There  are  other  works  by  Durer  which,  it  may  be,  should  be  ranked  among 
the  Emblematical,  as  Apocalypsis  cum  Figuris,  Nuremberg,  1498  ;  and  Passio  Domini 
nostri  Jesu,  1509  and  1511.  It  is,  however,  now  generally  agreed  that  Durer 
designed,  but  did  not  engrave,  on  wood.  See  Stanley,  p.  224. 


68  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

marriage  to  the  great  heiress  of  that  day,  Mary  of  Burgundy. 
There  are  some  who  believe  that  Maximilian  was  the  author,  or 
at  least  that  he  sketched  out  the  plan  which  Pfintzing  executed. 
As,  however,  the  espousals  took  place  in  1479,  before  the  poet 
was  born,  and  Mary  had  early  lost  her  life  from  a  fall, — the 
probability  is  that  the  emperor  supplied  some  of  the  incidents 
and  suggestions,  and  that  his  secretary  completed  the  work. 
The  splendid  volume  was  dedicated  to  Charles  V.  in  1517,  and 
published  the  same  year,  a  noble  monument  of  typographic  art. 

Of  a  later  work  known  under  the  name  of  "  Ctttnietibttd),"— 
The  Tournament-book, — by  George  Riixner,  namely,  Beginning, 
Source,  and  Progress  of  Tournaments  in  the  German  nation 
(Siemern,  S.  Rodler,  1530,  folio,  pp.  402),  Brunet  informs  us 
(Manuel,  vol.  iv.  c.  1471),  "There  are  found  for  the  most  part  in 
this  edition  printed  at  the  castle  of  Simmern"  (about  twenty- 
five  miles  south  of  Coblentz)  "in  15 30,  the  characters  already 
employed  in  the  two  editions  of  the  Tewrdannckh  of  1517  and 
1519;  there  may  also  be  remarked  numerous  engravings  on 
wood  of  the  same  kind  as  those  of  the  romance  in  verse  we  have 
just  cited."  The  edition  of  1532  "printed  at  the  same  castle," 
is  not  in  the  same  characters  as  that  of  1 5  30. 

CEBES,  the  Theban,  the  disciple  of  Socrates,  though  men- 
tioned at  pp.  12,  13,  must  again  be  introduced,  for  an  edition  of 
his  little  work  in  Latin  had  appeared  at  Boulogne  in  1497,  and 
at  Venice  in  1500;  also  at  Francfort,  "by  the  honest  men 
Lamperter  and  Murrer,"  in  1507,  with  the  letter  of  John  y£sti- 
campianus  ;  the  Greek  was  printed  by  Aldus  in  1503,  and 
several  other  editions  followed  up  to  the  end  of  the  century  ; 
— indeed  there  were  translations  into  Arabic,  French,  Italian, 
German,  and  English.* 

*  Belonging  to  one  of  the  earlier  editions,  or  else  as  an  Imagination  of  the  Tablet 
itself,  is  a  wonderfully  curious  woodcut,  in  folio,  of  which  our  Plate  I.  b  is  a  smaller 
fac-simile. 


I 


1 

V, 

I 


SECT.  III.]  FROM   A.D.     1522     TO    1543.  69 

II. — ANDREW  ALCIAT,  the  celebrated  jurisconsult,  remark- 
able, as  some  testify,  for  serious  defects,  as  for  his  surpassing 
knowledge  and  power  of  mind,  is  characterized  by  Erasmus  as 
"  the  orator  best  skilled  in  law,"  and  "  the  lawyer  most  eloquent 
of  speech  ;  " — of  his  composition  there  was  published  in  1522,  at 
Milan,  an  Emblematum  Libellus,  or  "Little  Book  of  Emblems."* 
It  established,  if  it  did  not  introduce,  a  new  style  for  Emblem 
Literature,  the  classical  in  the  place  of  the  simply  grotesque 
and  humorous,  or  of  the  heraldic  and  mythic.  It  is  by  no 
means  certain  that  the  change  should  be  named  an  unmixed 
gain.  Stately  and  artificial,  the  school  of  Alciat  and  his  fol- 
lowers indicates  at  every  stanza  its  full  acquaintance  with 
mythologies  Greek  and  Roman,  but  it  is  deficient  in  the  easy 
expression  which  distinguishes  the  poet  of  nature  above  him 
whom  learning  chiefly  guides  :  it  seldom  betrays  either  enthu- 
siasm of  genius  or  depth  of  imaginative  power. 

Nevertheless  the  style  chimed  in  with  the  taste  of  the  age, 
and  the  little  book, — at  least  that  edition  of  it  which  is  the 
earliest  we  have  seen,  Augsburg,  A.D.  I53i,t  contained  in  eighty- 
eight  pages,  small  8vo,  with  ninety-seven  Emblems  and  as 
many  woodcuts, — won  its  way  from  being  a  tiny  volume  of 
1 1 '5  square  inches  of  letterpress  on  each  of  eighty-eight  pages, 
until  with  notes  and  comments  it  was  comprised  only  in  a  large 
4to  of  1004  pages  with  thirty-seven  square  inches  of  letter- 
press on  each  page.  Thus  the  little  one  that  had  in  it  only 
1012  square  inches  of  text  and  picture  became  a  mountain,  a 


*  The  title  is  rather  conjectured  than  ascertained,  for  owing,  as  it  is  said,  to 
Alciat's  dissatisfaction  with  the  work,  or  from  some  other  cause,  he  destroyed  what 
copies  he  could,  and  not  one  is  now  of  a  certainty  known  to  exist.  For  solving  the 
doubt,  the  Editor  of  the  Holbein  Society  of  Manchester  has  just  issued  a  note  of 
inquiry  to  the  chief  libraries  of  Europe,  EnquSte  pour  decouvrir  la  premise  Edition 
des  Emblemes  d* Andre  Alciat,  illustre  Jurisconsulte  Italien.  Milan,  A.D.  1522. 

*t*  A  copy  was  in  the  possession  of  the  Rev.  Thos.  Corser,  and  has  passed  through 
the  hands  of  Dr.  Dibdin  and  Sir  Francis  Freeling ;  also  another  copy  is  at  Keir, 
Sir  William  Stirling  Maxwell's  ;  both  in  admirable  condition. 


70  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

monument  in  Alciat's  honour,  numbering  up  37,128  square 
inches  of  text,  picture,  and  comment.  The  little  book  of  Augs- 
burg, 1531,  may  be  read  and  digested,  but  only  an  immortal 
patience  could  labour  through  the  entire  of  the  great  book  of 
Padua,  1621.  In  that  interval  of  ninety  years,  however,  edition 
after  edition  of  the  favourite  emblematist  appeared  ;  with  trans- 
lations into  French  1536,  into  German  1542,  into  Spanish  and 
Italian  in  1549,  and,  if  we  may  credit  Ames'  Antiquities  of 
Printing,  Herbert's  edition,  p.  1570,  into  English  in  1551.  The 
total  number  of  the  editions  during  that  period  was  certainly  not 
less  than  130,  of  seventy  of  which  a  pretty  close  examination 
has  been  made  by  the  writer  of  this  sketch.  The  list  of  editions, 
as  far  as  completed,  numbers  up  about  150,  and  manifests  a 
persistence  in  popularity  that  has  seldom  been  attained. 

The  earliest  French  translator  was  John  Lefevre,  an  ecclesi- 
astic, born  at  Dijon  in  1493, — Les  Emblemes  de  Maistre  Andre 
Alciat :  Paris,  1536.  He  was  secretary  to  Cardinal  Givry, 
whose  protection  he  enjoyed,  and  died  in  1565.  Bartholomew 
Aneau,  himself  an  emblematist,  was  the  next  translator  into 
French,  1549;  and  a  third,  Claude  Mignault,  appeared  in  1583. 
Wolfgang  Hunger,  a  Bavarian,  in  1542,*  and  Jeremiah  Held 
of  Nordlingen,  were  the  German  translators  ;  Bernardino  Daza 
Pinciano,  in  1549,  Los  Emblemas  de  Alciato,  was  the  Spanish; 
and  Giovanni  Marquale,  in  1547,  the  Italian, — Diverse  Imprese. 

The  notes  and  comments  upon  Alciat's  Emblems  manifest 
great  research  and  very  extensive  learning.  Sebastian  Stock- 
hamer  supplied  commentariola,  short  comments,  to  the  Lyons 
edition  of  1556.  Francis  Sanctius,  or  Sanchez,  one  of  the 
restorers  of  literature  in  Spain,  born  in  1523,  also  added  com- 
mentaria  to  the  Lyons  edition  of  1573.  Above  all  we  must 

*  CLARISSIMI  VIRI  D.  ANDRE/E  kLciati  Emblematum  libellus,  uigilanter  recog- 
nitus,  et  ia  recens  per  Wolphgangum  Hungerum  Bauarum,  rhythmis  Germanids  versus. 
PARISIIS,  apud  Christianum  Wechdum,  <5rv.,  Anno  M.D.XLII. 


SECT.  III.]  FROM   A.D.     1522     TO    1543.  71 

name  Claude  Mignault,  whose  praise  is  that  "to  a  varied 
learning  he  joined  a  rare  integrity."  He  was  born  near  Dijon 
about  1536,  and  died  in  1606.  His  comments  in  full  appeared  in 
Plantin's  *  Antwerp  edition,  8vo,  of  1573,  and  may  be  appealed 
to  in  proof  of  much  patient  research  and  extensive  erudition. 
Lorenzo  Pignoria,  born  at  Padua  in  1571,  and  celebrated  for  his 
study  of  Egyptian  antiquities,  also  compiled  notes  on  Alciat's 
Emblems  in  MDCXHX.f  The  results  of  the  labours  of  the  three, 
Sanchez,  Mignault,  and  Pignorius,  were  collected  in  the  Padua 
editions  of  1621  and  1661.  It  is  scarcely  possible  that  so  many 
editions  should  have  issued  from  the  press,  and  so  much 
learning  have  been  bestowed,  without  the  knowledge  of  Alciat's 
Emblems  having  penetrated  every  nook  and  corner  of  the 
literary  world. 

With  a  glance  only  at  the  "  PROGNOSTICATION  of  Theo- 
phrastus  Paracelsus,  the  alchemist  and  enthusiast,  written  in 
1 5  36,  and  expressed  in  thirty-two  copperplates,  we  pass  at  once 
to  the  Dance  of  Death,  by  Hans  Holbein,  which  Bewick,  1789, 
and  Douce,  1833,  in  London,  and  Schlotthauer  and  Fortoul, 
1832,  in  Munich  and  Paris,  have  made  familiar  to  English, 
German,  and  French  readers.  Of  Holbein  himself,  it  is  sufficient 
here  to  say  that  he  was  born  at  Bale  in  1495,  and  died  in 
London  in  1543. 

Mr.  Corser's  copy  of  the  first  edition  of  the  Dance  of  Death, 
and  which  was  the  gift  of  Francis  Douce,  Esq.,  to  Edward 
Vernon  Utterson,  supplies  the  following  title,  "LES  SIMUL- 
ACHRES  &  HlSTORIEES  FACES  DE  LA  MORT,  avtant  elegam- 
met  pourtraictes,  que  artificiellement  imaginees :  A  Lyon,  soubz 

*  "OMNIA  ANDREW  ALCIATI  V.  C.  EMBLEMATA.  Adiectis  commentariis,  &c. 
Per  Clavdivm  Minoim  Diuionesem.  ANTVERPLE,  Ex  officina  Christopher!  Plantini, 
Architypographi  Regij,  M.D.LXXIII.  ;"  also,  "  Editio  tertia  multo  locupletior," 

M.D.LXXXI. 

t  "Emblemata  v.  Cl.  Andrese  Alciati — notulis  extemporarijs  Laurentij  Pignorij 
Patauini.  Patauij,  aptid  Pet.  Paulum  Tozzium,  M.DCXIIX,"  sm,  8vo." 


72  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

1'escu  de  Coloigne,  M.D.xxxvm."  The  volume  is  a  small  quarto 
of  104  pages,  unnumbered,  dedicated  to  Madame  Johanna  de 
Touszele,  the  Reverend  Abbess  of  the  convent  of  Saint  Peter  at 
Lyons.  There  are  forty-one  emblems,  each  headed  by  a  text 
of  scripture  from  the  Latin  version  ;  the  devices  follow,  with  a 
French  stanza  of  four  lines  to  each ;  and  there  are  sundry 
Dissertations  by  Jean  de  Vauzelles,  an  eminent  divine  and 
scholar  of  the  same  city.  But  who  can  speak  of  the  beauty  of 
the  work  ?  The  designs  by  Holbein  are  many  of  them  wonder- 
fully conceived,  —  the  engravings  by  Hans  Liitzenberge,  or 
Leutzelburger,  as  admirably  executed.* 

Rapidly  was  the  work  transferred  into  Latin  and  Italian,  and 
before  the  end  of  the  century  at  least  fifteen  editions  had  issued 
from  the  presses  of  Lyons,  Bale,  and  Cologne. 

Scarcely  less  celebrated  are  Holbein's  Historical  Figures 
of  the  Old  Testament,  which  Sibald  Beham's  had  preceded  in 
Francfort  by  only  two  years.  Beham's  whole  series  of  Bible 
Figures  are  contained  in  348  prints,  and  were  published  between 
1536  and  1540.  Dibdin's  Decameron,  vol.  i.  pp.  176,  177,  will 
supply  a  full  account  of  Holbein's  "  Historiarum  Veteris  Instru- 
ment! icones  ad  vivum  expressse  una  cum  brevi,  sed  quoad 
fieri  potuit,  dilucida  earundem  expositione : "  Lyons,  small  4to, 
1538.  The  edition  of  Frellonius,  Lyons,  1547,  is  a  very  close 
reprint  of  the  second  edition,  and  from  this  it  appears  that  the 
work  is  contained  in  fifty-two  leaves,  unnumbered,  and  that 
there  are  ninety-four  devices,  which  are  admirable  specimens  of 
wood-engraving.  The  first  four  are  from  the  Dance  of  Death, 
but  the  others  appropriate  to  the  subjects,  each  being  accom- 
panied by  a  French  stanza  of  four  lines. 

A  Spanish  translation  was   issued  in  1543;  and  in   1549,  at 

*  The  Holbein  Society  of  Manchester  have  just  completed,  May,  1869,  a  Photo- 
lithographic Reprint  of  the  whole  work,  with  an  English  Translation,  Notes,  &c.,  by 
the  Editor,  Henry  Green,  M.A. 


SECT.  III.]  FROM   A.D.     1522     TO    1543. 


73 


Lyons,  an  English  version,  "  The  Images  of  the  Old  Testament, 
lately  expressed,  set  forthe  in  Ynglishe  and  Frenche,  vuith  a 
playn  and  brief  exposition."  All  the  editions  of  the  century 
were  about  twelve. 

Hans  Brosamer,  of  Fulda,  laboured  in  the  same  mine,  and 
between  1551  and  1553,  copying  chiefly  from  Holbein  and 
Albert  Durer,  produced  at  Francfort  his  "  iSftltecfje  JStStflrtW 
fcunstltcf)  furgemalet,"  —  Bible  Histories  artistically  pictured 
(3  vols.  in  i). 

We  will,  though  somewhat  earlier  than  the  exact  date, 
continue  the  subject  of  Bible-Figure  Emblem-books  by  alluding 
to  the  Quadrins  historiqnes  de  la  Bible^ — "  Historic  Picture- 
frames  of  the  Bible," — for  the  most  part  engraved  by  "  Le  Petit 
Bernard,"  alias  'Solomon  Bernard,  who  was  born  at  Lyons  in 
1512.  Of  these 'works  in  French,  English,  Spanish,  Italian, 
Latin,  Flemish,  and  German,  there  were  twenty-two  editions 
printed  between  1553  and  1583.  Their  general  nature  may  be 
known  from  the  fact  that  to  each  Scripture  subject  there  is  a 
device,  in  design  and  execution  equally  good,  and  that  it  is 
followed  or  accompanied  by  a  Latin,  Italian,  &c.  stanza,  as  the 
case  may  be.  In  the  Italian  version,  Lyons,  1554,  the  Old 
Testament  is  illustrated  by  222  engravings,  and  the  New  by 
ninety-five. 

The  first  of  the  series  appears  to  be  Quadrins  historiques  du 
Genese,  Lyons,  1553;  followed  in  the  same  year  by  Quadrins 
historiques  de  V Exode.  There  is  also  of  the  same  date  (see 
Brunet,  iv.  c.  996),  "  The  true  and  lyuely  historyke  Pvrtreatures 
of  the  woll  Bible  (with  the  arguments  of  cache  figure,  translated 
into  english  metre  by  Peter  Derendel) :  Lyons  ;  by  Jean  of 
Tournes." 

To  conclude,  there  were  Figures  of  the  Bible,  illustrated  by- 
French  stanzas,  and  also  by  Italian  and  by  German  ;  published 
at  Lyons  and  at  Venice  between  1564  and  1582.  (See  Brunei's 


74  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

Manuel,  ii.  c.  1255.)  Also  Jost  Amman,  at  Francfort,  in  1564  ; 
and  Virgil  Solis,  from  1560  to  1568,  contributed  to  German 
works  of  the  same  character. 

Two  names  of  note  among  emblematists  crown  the  years 
1539  and  1540,  both  in  Paris  :  they  are  William  de  la  Perriere, 
and  Giles  Corrozet ;  of  the  former  we  know  little  more  than 
that  he  was  a  native  of  Toulouse,  and  dedicated  his  chief  work 
to  "  Margaret  of  France,  Queen  of  Navarre,  the  only  sister 
of  the  very  Christian  King  of  France  ; "  and  of  the  latter, 
that,  born  in  Paris  in  1510,  and  dying  there  in  1568,  he  was 
a  successful  printer  and  bookseller,  and  distinguished  (see 
Brunet's  Manuel,  ii.  cc.  299 — 308)  for  a  large  number  of  works 
on  History,  Antiquities,  and  kindred  subjects. 

La  Perriere's  chief  Emblem-work  is  Le  Theatre  des  bons 
Engins,  auquel  sont  contenus  cent  Emblemes :  Paris,  8vo,  1 5  39. 
There  are  no  leaves  and  really  101  emblems,  each  device 
having  a  pretty  border.  His  other  Emblem-works  are — The 
Hundred  Thoughts  of  Love,  1543,  with  woodcuts  to  each  page ; 
Thoughts  on  the  Four  Worlds,  "  namely,  the  divine,  the  angelic, 
the  heavenly,  and  the  sensible,"  Lyons,  1552;  and  "LA 
MOROSOPHIE," — TJie  Wisdom  of  Folly, — containing  a  hundred 
moral  emblems,  illustrated  by  a  hundred  stanzas  of  four  lines, 
both  in  Latin  and  in  French. 

Corrozet's  "  HECATOMGRAPHIE,"  Paris,  1540,  is  a  description 
of  a  hundred  figures  and  histories,  and  contains  Apophthegms, 
Proverbs,  Sentences,  and  Sayings,  as  well  ancient  as  modern. 
Each  page  of  the  100  emblems  is  surrounded  by  a  beautiful 
border,  the  devices  are  neat  woodcuts,  having  the  same  borders 
with  La  Perriere's  Theatre  of  good  Contrivances.  There  is  also 
to  each  a  page  of  explanatory  French  verses. 

It  requires  a  stricter  inquiry  than  I  have  yet  been  able  to 
make  in  order  to  determine  if  Corrozet's  Blasons  domestiques ; 
Blason  du  Moys  de  May  ;  and  Tapisserie  de  V Eglise  chrestienne 


SECT.  III.]  FROM   A.D.     1543     TO     1564. 


75 


&  catholique,  bear  a  decided  emblematical  character  ;  the  titles 
have  a  taste  of  emblematism,  but  are  by  no  means  decisive  of 
the  fact. 

III. — Maurice  Sceve's  Delie,  Object  de  phis  haulte  Vertn, 
Lyons,  1544,  with  woodcuts,  and  458  ten-lined  stanzas  on  love, 
is  included  in  the  Blandford  Catalogue  ;  and  in  the  Keir  Collec- 
tion are  both  The  very  admirable,  very  magnificient  and  trium- 
phant Entry  of  Prince  Philip  of  Spain  into  Antwerp  in  1549,* 
by  Grapheus,  alias  Scribonius  ;  edition  1550:  and  Gueroult's 
Premier  Livre  des  Emblemes ;  Lyons,  1550.  The  same  year, 
1550,  at  Augsburg,  has  marked  against  it  "  <&e0d)led)te8 
i$UCf)t" — Pedigree-book, — which  recurs  in  1580. 

Claude  Paradin,  the  canon  of  Beaujeu,  a  small  town  on  the 
Ardiere,  in  the  department  of  the  Rhone,  published  the  first 
edition  of  his  simple  but  very  interesting  Devises  heroiques, 
with  1 80  woodcuts,  at  Lyons  in  15 57-  It  was  afterwards 
enlarged  by  gatherings  from  Gabriel  Symeoni  and  other  writers ; 
but,  either  under  its  own  name  or  that  of  Symbola  heroica 
(edition  1567)  was  very  popular,  and  before  1600  was  printed  at 
Lyons,  Antwerp,  Douay,  and  Leyden,  not  fewer  than  twelve 
times.  The  English  translation,  with  which  it  is  generally 
admitted  that  Shakespeare  was  acquainted,  was  printed  in 
London,  in  12 mo,  in  1591,  and  bears  the  title,  The  Heroicall 
Devises  of  M.  Clavdivs  Paradin,  Canon  of  Beauieu,  "  Whereunto 
are  added  the  Lord  Gabriel  Symeons  and  others.  Translated 
out  of  Latin  into  English  by  P.  S." 

To  another  Paradin  are  assigned  Qiiadrins  historiqzies  de  la 
Bible,  published  at  Lyons  by  Jean  de  Tournes,  1555  ;  and  of 
which  the  same  publisher  issued  Spanish,  English,  Italian, 
German,  and  Flemish  versions. 

*  La   tres  admirable,    drv.,   entree  du  Prince  Philipe  d'Espaignes  —  en    la   ville 
iFAnvers,  anno  1549.     4to,  Anvers,  155°- 


76  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

The  rich  Emblem  Collection  at  Keir  furnishes  the  first 
edition  of  each  of  Doni's  three  Emblem-works,  in  4to,  printed  by 
Antonio  Francesco  Marcolini  at  Venice  in  1552-53;  they  are : 
i.  "I  MONDI," — i.e.,  The  Worlds,  celestial,  terrestrial,  and  in- 
fernal,— 2  parts  in  I,  with  woodcuts.  2.  "  I  MARMI," — The 
Marbles, — 4  parts  in  I,  a  collection  of  pleasant  little  tales  and 
interesting  notices,  with  woodcuts  by  the  printer  ;  who  also, 
according  to  Bryan,  was  an  engraver  of  "  considerable  merit." 
3.  "LA  MORAL  FILOSOFIA," — Moral  Philosophy  drawn  from 
the  ancient  Writers, — 2  parts  in  I,  with  woodcuts.  In  it 
are  abundant  extracts  from  the  ancient  fabulists,  as  Lokman 
and  Bidpai,  and  a  variety  of  little  narrative  tales  and  alle- 
gories. 

Of  an  English  translation,  two  editions  appeared  in  London 
in  1570  and  1601,  during  Shakespeare's  lifetime;  namely, 
"  Cfje  JHdtall  ^fulOSOpfjte  of  Doni,  englished  out  of  italien  by  sir 
Th.  North,"*  4to,  with  engravings  on  wood. 

Under  the  two  titles  of  "  PlCTA  POESIS,"  and  "  LlMAGlNA- 
TION  POETIQUE,"  Bartholomew  Aneau,  or  Anulus,  published  his 
- '  exquisite  little  gem,"  as  Mr.  Atkinson,  a  former  owner  of  the 
copy  which  is  now  before  me,  describes  the  work.  It  appeared 
at  Lyons  in  1552,  and  contains  106  emblems,  the  stanzas  to 
which,  in  the  Latin  edition,  are  occasionally  in  Greek,  but  in  the 
French  edition,  "vers  Francois  des  Latins  et  Grecz,  par  1'auteur 
mesme  d'iceux." 

Achille  Bocchi,  a  celebrated  Italian  scholar,  the  founder,  in 
1546,  of  the  Academy  of  Bologna,  Virgil  Solis,  of  Nuremberg, 
an  artist  of  considerable  repute,  Pierre  Cousteau,  or  Costalius,  of 
Lyons,  and  Paolo  Giovio,  an  accomplished  writer,  Bishop  of 
Nocera,  give  name  to  four  of  the  Emblem-books  which  were 

*  North's  translation  of  Plutarch's  Lives,  we  may  remark,  was  the  great  treasury 
to  which  Shakespeare  often  applied  in  some  of  his  Historical  Dramas  ;  and  we  may 
assume  that  other  productions  from  the  same  pen  would  not  be  unknown  to  him. 


SECT.  III.]  FROM   A.D.     1543     TO    1564.  77 

issued  in  the  year  1555.     That  of  Bocchius  is  entitled  "  SYMBO- 

LICARVM  QVAESTIONVM,  LIBRI  QVINQVE,"  Bononiae,  1555,  4*0  ; 
and  numbers  up  146,  or,  more  correctly,  150  emblems  in  340 
pages  :  the  devices  are  the  work  of  Giulio  Bonasone,  from 
copper-plates  of  great  excellence.  In  1556,  Bononics  Sam- 
bigucius  put  forth  In  Hermathenam  Bocchiam  Interpretatio,  which 
is  simply  a  comment  on  the  iO2nd  emblem  of  Bocchius.  Virgil 
Solis  published  in  4to,  at  Nuremberg,  the  same  year,  "LlBELLUS 
Sartorum,  seu  Signorum  publicorum," — A  little  Book  of  Cobblers, 
or  of  public  Signs.  Cousteau's  "  PEGMA,"*  which  some  say  ap- 
peared first  in  1552,  is,  as  the  name  denotes,  a  Structure  of 
emblems,  ninety-five  in  number,  with  philosophical  narratives, — 
each  page  being  surrounded  by  a  pretty  border.  And  Giovio's 
"  DiALOGO  dell'  Imprese  Militari  et  Amore," — Dialogue  of 
Emblems  of  War  and  of  Love ;  or,  as  it  is  sometimes  named, 
"  RAGIONAMENTO,  Discourse  concerning  the  words  and  devices 
of  arms  and  of  love,  which  are  commonly  named  Emblems" — is 
probably  the  first  regular  treatise  on  the  subject  which  had  yet 
appeared,  and  which  attained  high  popularity. 

Its  estimation  in  England  is  shown  by  the  translation  which 
was  issued  in  London  in  1585,  entitled,  "THE  Worthy  tract  of 
Paulus  louius,  contayning  a  Discourse  of  rare  inuentions,  both 
Militarie  and  Amorous,  called  Imprese.  W hereunto  is  added  a 
'Preface  contay-mng  the  Arte  of  composing  them,  with  many 
other  notable  deuises.  By  Samuell  Daniell  late  Student  in 
Oxenforde." 

Intimately  connected  with  Giovio's  little  work,  indeed  often 
constituting  parts  of  the  same  volume,  were  Ruscelli's  "DlS- 
CORSO"  on  the  same  subject,  Venice,  1556;  and  Domenichi's 
"  RAGIONAMENTO,"  also  at  Venice,  in  1556.  From  the  testi- 

*  "  PETRI  COSTALII  PEGMA  Cum  narrationibus  philosophkis.'1''    8vo,  LVGDVNI, 

1555- 

"  LE  PEGME  JDE  PIERRE  COVSTAV  auec  les  Narr.  philosophiqves."  8vo,  A  Lyon, 
M.D.LX. 


7.8  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

mony  of  Sir  Egerton  Brydges  (Res  Lit.),  "  Ruscelli  was  one  of 
the  first  literati  of  his  time,  and  was  held  in  esteem  by  princes 
and  all  ranks  of  people." 

Very  frequently,  too,  in  combination  with  Giovio's  Dialogue 
on  Emblems,  are  to  be  found  Ruscelli's  "  IMPRESE  ILLVSTRI," 
Venice,  1566  ;  or  Symeoni's  "  IMPRESS  HEROICHE  ET  MO 
RALI,"  Lyons,  1559;  and  "  SENTENTIOSE  IMPRESS,"  Lyons, 
1562. 

Roville's  Lyons  edition,  of  1574,  thus  unites  in  one  title- 
page  Giovio,  Symeoni,  and  Domenichi,  "  DlALOGO  DELLIM- 
PRESE  MILITARI  ET  AMOROSE,  De  Monsignor  Giouio  Vescouo 
di  Nocera  Et  del  S.  Gabriel  Symeoni  Fiorentino,  Con  vn 
ragionamento  di  M.  Lodouico  Domenichi,  nel  medesimo  sog- 
getto." 

Taking  together  all  the  editions  in  Italian,  French,  and 
Spanish,  of  these  four  authors,  single  or  combined,  which  I  have 
had  the  opportunity  of  examining,  there  are  no  less  than  twenty- 
two  between  1555  and  1585,  besides  five  or  six  other  editions 
named  by  Brunet  in  his  Manuel  du  Libraire.  Roville's  French 
edition,  4to,  Lyons,  1561,  is  by  Vasquin  Philieul,  "Dialogve  des 
Devises  d'Armes  et  d'Amovrs  dv  S.  Pavlo  lovio,  Auec  vn 
Discours  de  M.  Loys  Dominique — et  les  Denises  Heroiques  et 
Morales  du  Seigneur  Gabriel  Syrneon" 

At  this  epoch  we  enter  upon  ground  which  has  been 
skilfully  upturned  and  cultivated  by  Claude  Francis  Menes- 
trier,  born  at  Lyons  in  1631,  and  "distinguished  by  his 
various  works  on  heraldry,  decorations,  public  ceremonials, 
&c."  (Aikin's  Gen.  Biog.  vii.  p.  41.)  In  his  "  PHILOSOPHIA 
IMAGINUM," — Philosophy  of  Images, — an  octavo  volume  of  860 
pages,  published  at  Amsterdam,  1695,  he  gives,  in  ninety-four 
pages,  a  "  JUDICIUM,"  i.e.,  a  judgment  respecting  all  authors  who 
have  written  on  Symbolic  Art',  and  of  those  Authors  whom  we 


SECT.  III.] 


FROM  A.D.     1543     TO    1564. 


79 


have  named,  or  may  be  about  to  name,  within  the  Period  to 
which  our  Sketch  extends,  he  mentions  that  he  has  examined 
the  works  of 


A.D. 

1555.*  Paulus  Joviiis,  p.  i. 

1556.  Ltidovicus  Dominions ,  p.  3. 

„  Hieronymus  Ruscellius,  p.  4. 

1561.  Alphonsus  Ulloa,  ibid. 

1562.  Scipio  Amtratus,  p.  5. 
1571.  A  lexander  Farra,  p.  6. 

„        Bartholocemus  Taegius,  p.  7. 
1574.     Lucas  Contile,  p.  9. 
1577-     Johannes  Andreas  Palatius, 

p.  10. 
1578.    Scipio  Bergalius,  p.  12. 


A.D. 

1 5  80.  Francis cus  Caburaccius,  p.  1 2 . 

1588.  Abrahamus  Fransiiis,  p.  15. 

1591.  Julius  Ccesar  Capacius,  ibid. 

„  /?.  y4  Ibertus  Bernardetti,  p.  1 7. 

1594.  Torquatus  Tassus,^.  14. 

1600.  Jacobus  Sassus,  p.  1 8. 

1 60 1.  Andreas  Chioccus,  ibid. 
1612.  Hercules  Tassus,  p.  19. 

„  P.  Horatius  Mont  aide,  p.  23. 

„  Johannes Baptista  Persone,  ib. 

1620.  Franciscus  d'Amboise,  ibid. 


It  may  also  be  gathered  from  the  "  JUDICIUM  "  that  Menes- 
trier  had  read  with  care  what  had  been  written  on  Emblems  by 
the  following  authors  : — 


A.D. 
1551. 

I557- 
1562. 
1565. 
1573. 


Gabriel  Simeoni,  p.  63. 
Claudius  Paradinus,  p.  68. 
Mauritius  Sevus,  p.  55. 
J.  Baptista  Pittonius,  p.  70. 
Claudius  Minos,  p.  54. 


A.D. 

1588.  Bernardinus  Percivalle,  p.  64. 

„      Princtpius  Fabricius,  p.  76. 
1600.  Johannes  Pinedi,  p.  60. 
1609.  Jacobus  Le  Vasseur,  p.  91. 
1613.  J.  Franciscus de  Villava,  p.  55. 


Excluding  the  editions  before  enumerated,  the  books  of 
emblems  which  I  have  noted  from  various  sources  as  assigned  to 
the  authors  in  the  above  lists  from  Menestrier,  amount  to  from 
twenty-five  to  thirty,  with  the  titles  of  which  there  is  no  occasion 
to  trouble  the  reader. 

Returning  from  this  digression,  Vincenzo  Cartari  should  next 
be  named  in  order  of  time.  At  Venice,  in  1556,  appeared  his 
"IMAGINI  DEI  Dei  degli  Antichi" — Images  of  the  Gods  of  the 
Ancients, — 4to,  of  above  500  pages.  It  contains  an  account  of 
the  Idols,  Rites,  Ceremonies,  and  other  things  appertaining  to 


*  The  dates  have  been  added  to  Menestrier's  list. 


8o  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

the  old  Religions.  It  was  a  work  often  reprinted,  and  in  1581 
translated  into  French  by  Antoine  du  Verdier,  the  same  who, 
in  1585,  gave  in  folio  a  Catalogue  of  all  who  have  written  or 
translated  into  French  up  to  that  time. 

A  folio  of  1100  pages,  which  within  the  period  of  our  sketch 
was  reprinted  four  times,  issued  from  Bale  in  1556  ;  it  is, 
"  HlEROGLYPHlCA,"  —  Hieroglyphics,  or,  Commentaries  on  the 
Sacred  Literature  of  the  Egyptians, — by  John  Pierius  Valerian,  a 
man  of  letters,  born  in  extreme  poverty  at  Belluno  in  1477,  an<^ 
untaught  the  very  elements  of  learning  until  he  was  fifteen. 
(Aikin's  Gen.  Biog.  ix.  537.)  He  died  in  1558.  As  an  exposition 
of  the  Egyptian  hieroglyphics,  his  very  learned  work  is  little 
esteemed  ;  but  it  contains  emblems  innumerable,  comprised  in 
fifty-eight  books,  each  book  dedicated  to  a  person  of  note,  and 
treating  one  class  of  objects.  The  devices — small  woodcuts 
— amount  to  365. 

Etienne  Jodelle,  a  poet,  equally  versatile  whether  in  Latin  or 
in  French,  was  skilled  in  the  ancient  languages,  and  acquainted 
with  the  arts  of  painting,  sculpture,  and  architecture,  as  well  as 
dexterous  in  the  use  of  arms.  He  published,  in  1558,  a  thin 
quarto  "  RECUEIL,"  or  Collection  of  the  inscriptions,  figures, 
devices,  and  masks  ordained  in  Paris  at  the  Hotel  de  Ville. 
The  same  year,  and  again  in  1569  and  1573,  appeared  the  large 
folio  volume,  in  five  parts,  "  AusTRiACis  GENTIS  IMAGINES,"— 
Portraits  of  the  Austrian  family, — full  lengths,  engraved  by 
Caspar  ab  Avibus,  of  Padua.  At  the  foot  of  each  portrait  are  a 
four-lined  stanza,  a  brief  biographical  notice,  and  some  emblema- 
tical figure.  Of  similar  character,  though  much  inferior  as  a 
work  of  art,  is  Jean  Nestor's  HlSTOIRE  des  Hommes  ilhistres  de 
la  Maison  de  Medici ;  a  quarto  of  about  240  leaves,  printed  at 
Paris  in  1564,  (See  the  Keir  Catalogue,  p.  143.)  It  contains 
"  twelve  woodcuts  of  the  emblems  of  the  different  members  of 
the  House  of  Medici." 


SECT.  III.]  FROM   A.D.     1543     TO    1564.  81 

Hoffer's  "  ICONES  CATECHESEOS,"  or  Pictitres  of  instruction, 
and  of  virtues  and  vices,  illustrated  by  verses,  and  also  by 
seventy-eight  figures  or  woodcuts,  was  printed  at  Wittenberg  in 
1560.  The  next  year,  1561 — if  not  in  1556  (see  Brunet's 
Manuel,  vol.  ii.  cc.  930,  931) — John  Duvet,  one  of  the  earliest 
engravers  on  copper  in  France,  at  Lyons,  published  in  twenty- 
four  plates,  folio,  his  chief  work,  "  LAPOCALYPSE  FIGURES  ; " 
and  in  1562,  at  Naples,  the  Historian  of  Florence,  Scipione 
Ammirato,  gave  to  the  world  "  IL  ROTA  OVERO  DELL'  IM- 
PRESE,"  or,  Dialogue  of  the  Sig.  Scipione  Ammirato,  in  which  he 
discourses  of  many  emblems  of  divers  excellent  authors,  and  of 
some  rules  and  admonitions  concerning  this  subject  written  to 
the  Sig.  Vincenzo  Carrafa. 

Were  it  less  a  subject  of  debate  between  Dutch  and  German 
critics  as  to  the  exact  character  of  the  "SPELEN  VAN  SINNE,"* 
which  were  published  by  the  Chambers  of  Rhetoric  at  Ghent  in 
1539,  and  by  those  of  Antwerp  in  1561  and  1562  (see  Brunet's 
Manuel,  vol.  v.  c.  484),  we  should  claim  these  works  for  our 
Emblem  domain.  But  whether  claimed  or  not,  the  exhibitions 
and  amusements  of  the  Chambers  of  Rhetoric,  especially  at 
their  great  gatherings  in  the  chief  cities  of  the  Netherlands,  were 
often  very  lively  representations  by  action  and  accessory  devices 
of  dramatic  thought  and  sentiment,  from  "  King  Herod  and  his 
Deeds,"  "  enacted  in  the  Cathedral  of  Utrecht  in  1418,"  to  what 
Motley,  in  his  Dutch  Reptiblic,  vol.  i.  p.  80,  terms  the  "  magnifi- 
cent processions,  brilliant  costumes,  living  pictures,  charades, 
and  other  animated,  glittering  groups," — "  trials  of  dramatic  and 
poetic  skill,  all  arranged  under  the  superintendence  of  the 


*  A  friend,  Mr.  Jan  Hendrik  Hessells,  now  of  Cambridge,  well  acquainted  with 
his  native  Dutch  literature,  informs  me  the  "  Spelen  van  Sinnen  (Sinnespelen,  Zinne- 
spelen)  were  thus  called  because  allegorical  personifications,  Zinnebeildige  personen 
(in  old  Dutch,  Sinnekens],  for  instance  reason,  religion,  virtue,  were  introduced." 
They  were,  in  fact,  "  allegorical  plays,"  similar  to  the  "Interludes"  of  England  in 
former  times. 


82  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

particular  association  which  in  the  preceding  year  had  borne 
away  the  prize." 

"The  Rhetorical  Chambers  existed  in  the  most  obscure 
villages"  (Motley,  i.  p.  79);  and  had  regular  constitutions,  being 
presided  over  by  officers  with  high-sounding  titles,  as  kings, 
princes,  captains,  and  archdeacons,  —  and  each  having  "  its 
peculiar  title  or  blazon,  as  the  Lily,  the  Marigold,  or  the  Violet, 
with  an  appropriate  motto."  After  1493  they  were  "  incorpo- 
rated under  the  general  supervision  of  an  upper  or  mother- 
society  of  Rhetoric,  consisting  of  fifteen  members,  and  called  by 
the  title  of  '  Jesus  with  the  balsam  flower.'  " 

As  I  have  been  informed  by  Mr.  Hessells,  Siegenbeek,  in  his 
Geschiedenis  der  Neder lands  cite  Letterkunde,  says, — "  Besides  the 
ordinary  meetings  of  the  Chambers,  certain  poetical  feasts  were 
in  vogue  among  the  Rhetor-gevers,  whereby  one  or  other  subject, 
to  be  responded  to  in  burdens  or  short  songs  (liedekens),  ac- 
cording to  the  contents  of  the  card,  was  announced,  with  the 
promise  of  prizes  to  those  who  would  best  answer  the  proposed 
question.  But  the  so-called  Entries  deserve  for  their  magnifi- 
cence, and  the  diversity  of  poetical  productions  which  they  give 
rise  to,  especially  our  attention. 

"  It  happened  from  time  to  time  that  one  or  other  of  the  most 
important  Chambers  sent  a  card  in  rhyme  to  the  other  Chambers 
of  the  same  province,  whereby  they  were  invited  to  be  at  a 
given  time  in  the  town  where  the  senders  of  the  card  were 
established,  for  the  sake  of  the  celebration  of  a  poetical  feast. 
This  card  contained  further  everything  by  which  it  was  desired 
that  the  Chambers,  which  were  to  make  their  appearance,  should 
illustrate  this  feast,  viz.,  the  performance  of  an  allegorical  play 
(zinnespel)  in  response  to  some  given  question  ;*  the  preparation 
of  esbatementez  (drawings),  faceties  (jests),  prologues  ;  the 

*  As  "Wat  den  mensch  aldermeest  tot'  const  e  verwect?" — What  most  of  all 
avvakens  man  to  art  ? 


SECT.  III.]  FROM   A.D.     1543     TO    1564.  83 

execution  of  splendid  entries  and  processions  ;  the  exhibitions  of 
beautifully  painted  coats  of  arms,  &c.  These  entries  were  of 
two  kinds,  landmweelen,  and  haagspelen ; — the  landjewels  were 
the  most  splendid,  and  were  performed  in  towns ;  the  hedge- 
plays  belonged  properly  to  villages,  though  sometimes  in  towns 
these  followed  the  performance  of  a  landjewel."  Originally, 
landjewel  meant  a  prize  of  honour  of  the  land  ;  called  also 
landprys  (land-prize). 

Such  were  the  periodic  jubilees  of  a  neighbouring  people, 
their  "  land-jewels,"  as  they  were  termed,  when  the  birthtime  of 
our  greatest  English  dramatist  arrived.  And  as  we  mark  the 
wide  and  increasing  streams  of  the  Emblem  Literature  flowing 
over  every  European  land,  and  how  the  common  tongue  of 
Rome  gave  one  language  to  all  Christendom,  can  we  deem  it 
probable  that  any  man  of  genius,  of  discernment,  and  of  only 
the  usual  attainments  of  his  compeers,  would  live  by  the  side  of 
these  streams  and  never  dip  his  finger  into  the  waters,  nor  wet 
even  the  soles  of  his  feet  where  the  babbling  emblems  flowed  ? 

Some  there  have  been  to  maintain  that  Shakespeare  had 
visited  the  Netherlands,  or  even  resided  there ;  and  it  is  conse- 
quently within  the  limits  of  no  unreasonable  conjecture  that  he 
had  seen  the  landjewels  distributed,  and  at  the  sight  felt  himself 
inspirited  to  win  a  nobler  fame. 


Whitney,  1586. 


EMBLEM-BOOK   LITERATURE. 


[CHAP.   II 


SECTION    IV. 

EMBLEM    WORKS   AND   EDITIONS   BETWEEN  A.D.     1564    AND 

A.D.     1616. 

N  the  year  at  which  this  Section  begins, 
Shakespeare  was  born,  and  for  a  whole 
century  the  Emblem  tide  never  ebbed. 
There  was  an  uninterrupted  succession  of 
new  writers  and  of  new  editions.  Many 
eminent  names  have  appeared  in  the  past, 
and  names  as  eminent  will  adorn  the  future. 

The  fifty  years  which  remain  to  the  period  comprised  within 
the  limits  of  this  Sketch  of  Emblem  Literature  we  divide  into 
two  portions  of  twenty-five  years  each  :  ist,  up  to  1590,  when 
Shakespeare  had  fairly  entered  on  his  dramatic  career  ;  and 
2nd,  from  1590  to  1615,  when,  according  to  Steevens  (edition 
1785,  vol.  i.  p.  354),  his  labours  had  ended  with  The  Twelfth 
Night,  or,  What  You  Will.  As  far  as  actual  correspondences 
between  Shakespeare  and  the  Emblem  Writers  demand,  our 
Sketch  might  finish  with  1610,  or  even  earlier  :  for  some  time 
will  of  necessity  intervene,  after  a  work  has  been  issued,  before 
it  will  modify  the  thoughts  of  others,  or  enter  into  the  phrases 
which  they  employ.  However,  there  is  nothing  very  incon- 
gruous in  making  this  Sketch  and  the  last  of  Shakespeare's 
dramas  terminate  with  the  same  date. 

I. — In  1564,  at  Rome,  in  4to,  the  distinguished  Latinist, 
Gabriel  Faerno's  Fables  were  first  printed,  100  in" number; — it 


SECT.  IV]  FROM   A.D.     1564     TO    1590.  85 

was  three  years  after  his  death.  The  plates  are  from  designs 
which  Titian  is  said  to  have  drawn.  Our  English  Whitney 
adopts  several  of  Faerno's  Fables  among  his  Emblems,  and  on 
this  authority  we  class  them  with  books  of  Emblems.  From 
time  to  time,  as  late  as  to  1796,  new  editions  and  translations  of 
the  Fables  have  been  issued.  A  copy  in  the  Free  Library, 
Manchester,  "  RonicTe  Vincentius  Luchinus,  1565,"  bears  the 
title,  Fabvlae  Centvm  ex  antiqvis  avctoribvs  delectae,  et  a  Gabriele 
Faerno,  Cremonensi  carminibvs  explicatae. 

Virgil  Solis,  a  native  of  Nuremberg,  where  he  was  born  in 
1514,  and  where  he  died  in  15/0;  arid  Jost  Amman,  who  was 
born  at  Zurich  in  1539,  but  passed  his  life  at  Nuremberg,  and 
died  there  in  1591*  were  both  artists  of  high  repute,  and  contri- 
buted to  the  illustration  of  Emblem-works.  The  former, 
between  1560  and  1568,  produced  125  New  Figures  for  the  New 
Testament,  and  An  Artistic  little  Book  of  Animals ;  and  the 
latter,  from  1564  to  1586,  contributed  very  largely  to  books  of 
Biblical  Figures,  of  "Animals,"  of  "Genealogies,"  of  "Heraldry," 
and  of  the  Habits  and  Costumes  of  All  Ranks  of  the  Clergy  of 
the  Roman  Churchy  and  of  Women  of  every  "  Condition,  profes- 
sion, and  age,"  throughout  the  nations  of  Europe. 

From  the  press  of  Christopher  Plantin,  of  Antwerp,  there 
issued  nearly  fifty  editions  of  Emblem-books  between  1564  and 
1590.  Of  these,  one  of  the  earliest  was,  "  EMBLEM  ATA  CVM 
ALIQVOT  NVMMIS  ANTIQVIS,"  —  Emblems  with  some  ancient 
Coins, — 4to,  1564,  by  the  Hungarian,  John  Sambucus,  born  at 
Tornau  in  1531.  A  French  version,  Les  Emblemes  de  Jehan 
Sambuctis,  issued  from  the  same  press  in  1567.  Among 
Emblematists,  none  bears  a  fairer  name  as  "  physician,  anti- 
quary, and  poet."  According  to  De  Bry's  Icones,  pt.  iii.,  ed. 
1598,  pp.  76—83,  he  obtained  the  patronage  of  two  emperors, 
Maximilian  II.  and  Rudolph  II.,  under  whom  he  held  the  offices 
of  counsellor  of  state  and  historian  of  the  empire.  To  him  also 


86 


EMBLEM-BOOK   LITERATURE. 


[CHAP.   II. 


belonged  the  rare  honour  of  having  his  work  commented  on  by 
one  of  the  great  heroes  of  Christendom,  Don  John  of  Austria, 
in  1572. 

Les  Songes  drolatiqves  de  Pantagrvel,  by  Rabelais,  appeared 
at  Paris  in  1565,  but  its  emblematical  character  has  been 
doubted.  Not  so,  however,  the  ten  editions  of  the  "  EMBLE- 
MATA "  of  Hadrian  Junms,  a  celebrated  Dutch  physician,  of 
which  the  first  edition  appeared  in  1565,  and  justly  claims  to  be 
"  the  most  elegant  which  the  presses  of  Plantin  had  produced  at 
this  period." 

We  may  now  begin  to  chronicle  a  considerable  number  of 
works  and  editions  of  Emblems  by  ITALIAN  writers,  which,  to 
avoid  prolixity  and  yet  to  point  out,  we  present  in  a  tabulated 
form,  giving  only  the  earliest  editions  : — 


Pittoni's  .     . 

Imprese  di  diversiprincipi,  diichi,  &*c. 

sm.  fol. 

Venice   . 

I566£.* 

Troiano's     . 

Discorsi  delli  triomfi,  giostre,  Qr*c.     . 

4to 

Monica  . 

1568^. 

Rime       .     . 

Rime  de  gli  Academici  occvlti,  &*c.  . 

4to 

Brescia  . 

I568& 

Farra's    .     . 

Settenario  delF  hiimana  riduttione   . 

... 

... 

1571  v. 

Dolce's    .     . 

Le  prime  imprese  del  conte  Orlando 

4to 

Venice   . 

1572  v. 

»        •     • 

Dialogo      ...... 

8vo 

Venice   . 

1575  k. 

Contile's  .     . 

Ragionamento  —  sopra    la  proprieta 

Fol. 

Pavia 

1574  k. 

delle  Imprese,  &^c. 

Fiorino's 

Opera  nuova,  <5rv.      .... 

4to 

Lyons     . 

1577^. 

Palazza's 

I  Discorsi  —  Imprese,  &^c.  . 

8vo 

Bologna 

1577^. 

Caburacci's  . 

Trattato,  —  dove  si  dimostra  il  vero 

4to 

Bologna 

iS8o>&. 

e  novo  modo  difare  le  Imprese. 

*  The  works  to  which  a  k  is  appended  are  all  in  the  very  choice  and  yet  most 
extensive  collection  of  Emblem-books  at  Keir,  made  by  the  Author  of  The  Cloister 
Life  of  Charles  V.,  Sir  William  Stirling  Maxwell,  Bart.  ;  c,  in  the  Library  formed  by 
the  Rev.  Thomas  Corser,  Rector  of  Stand,  near  Manchester ;  /,  in  that  of  Henry  Yates 
Thompson,  Esq. ,  of  Thingwall,  near  Liverpool.  I  have  had  the  opportunity,  most 
kindly  given,  of  examining  very  many  of  the  Emblem-works  at  Keir,  and  nearly  all 
of  those  at  Stand  and  Thingwall.  The  three  collections  contained  at  the  time  of 
my  examination  of  them  934,  204,  and  248  volumes,  in  the  whole  1386  volumes. 
Deducting  duplicates,  the  number  of  distinct  editions  in  the  three  libraries  is  above  900. 
Where  I  have  placed  a  v,  it  denotes  that  the  sources  of  information  are  various,  but 
those  sources  I  possess  the  means  of  verifying.  I  name  these  things  that  it  may  be 
seen  I  have  not  lightly  nor  idly  undertaken  the  sketch  which  I  present  in  these  pages. 


SECT.  IV.] 


FROM  A.D.     1564    TO    1590. 


Guazzo's       .  Dialoghi piacevoli     .... 

Camillas .     .  Imprese — co  i  discorsi,  et  con  le  figure 
Cimolotti's  .  //  superbi  ...... 

Fabrici's.     .  Delle  allusioni,  imprese  &*  emblemi 

sopra  la  vita,  &*c.,  diGregorio  XIII. 
Rinaldi's  .  //  mostruosissimo  .... 
Porro's  .  .  II  primo  libra  ..... 
Pezzi's  .  .  La  Vigna  del  Signore — Sacramenti, 

Paradise,  Limbo,  &^c. 
Bargagli's    .  Dell'  Imprese 


4to  Venice  .  1585  /-. 

4to  Venice  .  1586^. 

4to  Pavia  .  1587  k. 

4to  Roma 


8vo  Ferrara  . 

4to  Milano  .  1589  k. 

4to  Venetia.  1589 /. 

4to  Venetia.  1589^. 


So,  briefly,  in  the  order  of  time,  may  we  name  several  of  the 
French,  Latin,  and  German  Emblem-writers  of  this  period, 
together  with  the  Spanish  and  English  : — 


FRENCH. 

Grevin's      .     .  Emblemes  cT Adrian  La  Jeune 

Vander  Noot's  Theatre  .  .  .  les  inconueniens  et 
miseres  qui  suiuent  les  mondains 
et  vicieux,  &^c. 

De  Montenay's  Emblemes  ou  devises  chrestiennes  . 

Chartier's    .     .  Les  Blasotis  de  vertu  par  vertu 

Droyn's*    .     .  La  Grand  nef  des  fols  du  monde    . 

Goulart's  .  .  Les  Vrais  Pourtraits  des  Homines 
illustres. 

Verdier's  .  .  Les  images  des  anciens  dieux  (par 
V.  Cartari). 

Anjou  .  .  .  La  joyeuse  et  magnif.  entree  de 
Mons.  Franqoys,  due  de  Bra- 
bant, Anjou,  &c.,  en  ville 
d' Anvers. 

L'Anglois  .  .  Discours  des  hierog.  e'gyptiens,  em- 
blemes,  &>c. 

Messin  .  .  .  Emblemes  latins  de  J.  J.  Boissard, 
avec  V interpretation  franqoise. 


i6mo  Anvers  .    1568  v. 
8vo    Londres.    1568  v. 


4to  Lyon.     .  1571  k. 

4to  Aurelise.  1574  v. 

fol.  a  Lyon  .  1579  c. 

4to  Genue    .  1581  k. 

4to  Lyon      .  1581  v. 

fol.  a  Anvers  1582  k. 


4to     Paris.     .    1583^. 
4to     Metis      .    1588  c. 


Of  these  works,  Vander  Noot's  was  translated  into  English, 
says  Brunet,  (v.  c.  1072,)  by  Henry  Bynneman,  1569,  and  is 
remarkable  for  containing  (see  Ath.  Cantab,  ii.  p.  258)  certain 


First  printed  at  Lyons  in  1498. 


EMBLEM-BOOK   LITERATURE. 


[CHAP.    II. 


poems,  termed  sonnets,  and  epigrams,  which  Spenser  wrote 
before  his  sixteenth  year.  Mademoiselle  Georgette  de  Montenay 
was  a  French  lady  of  noble  birth,  and  dedicated  her  100 
Emblems  "  to  the  very  illustrious  and  virtuous  Princesse, 
Madame  Jane  D'Albret,  Queen  of  Navarre."  Chartier,  a 
painter  and  engraver,  flourished  about  1574;  L'Anglois  is  not 
mentioned  in  the  Hieroglyphics  of  Dr.  Leemans,  nor  do  I  find 
any  notice  of  Messin. 

LATIN. 

Schopperus    .     .  noi/oTrAfo,  otnnium  illiberalium     8vo  Francof.    .     .  1568  i>. 

mechanicarum,  &*c. 
„  .  .  De  omnibus  illiberalibus  sive  8vo  Francof.  .  .  1574  /. 

mechanicis  artibus. 
Arias  Montanus .  Humance  salutis  monumenta,  4to  Antverpiae  .1572  k. 


Sanctius    .     . 

Furmerus  .     . 
Lonicer,  Ph.  . 

Estienne,  Henri. 

Freitag      .     .  , 

Microcosm.    .  . 

MIKPOKO2MO2  . 

Beza      .     .     .  . 

Hesius,  G.      .  . 
Reusner 


Lonicer,  J.  A. 

Moherman 
Emblemata    . 


.  Commentaria    in    A.    Alciati  8vo  Lugduni    .  .  1573  k. 

Emblemata. 

.  De  rerum  usu  et  abusu    .        .  4to  Antverpiae  .  1575  /. 

.  Insignia  sacra  Ccesarece,  maj.  4to  Francof.    .  .  1579  k. 


Anthologia  gnomica 
Mythologia  ethica    . 


Bol 


Hortinus    .     . 
Modius      .     . 


Parvus  Mundus 
Icones — accedunt  emblemata  . 
Emblemata  sacra 
Emblemata — partim  ethica  et 

physica,  &^c. 
A  ureolorum  Emblem,  liber  sin- 

gularis. 
Venatus  et  Aucupium  Iconibus 

artif. 

Apologi  Creaturarum 
Emblemata  Evangelica  ad  XII. 

signa,  &>c. 
Emblemata  Evang.  ad.  XII. 

Signa  ccelestia. 
Icones  operum,  &C. 
Liber  —  or  dints     Ecclesiastici 

origo,  &C. 


8vo  Francof.    . 

.  1579  k. 

4to  Antverpiae 

.  1579  /. 

4to        

1579  v. 

4to  Antverpiae 

.  1592  k. 

4to  Genevae     . 

.  1581  c. 

4to  Francof.    . 

.  1581  v. 

4to  Francof.    . 

.  1581  k. 

8vo  Argent  or  . 

.  1591  /. 

4to  Francof.    . 

.  1582  c. 

4to  Antverpiae 

.  1584  /. 

fol  

1585  k. 

4to  Francof.     .     .  1585  v. 


4to  Romae 
8vo  Francof.    . 


1585  k. 
1585  /. 


SECT.  IV.] 


FROM   A.D.     1564     TO    1590. 


89 


Modius       .     .     .  Pandecta  triumphal  es,&c.     .  fol.    Francof. 

Fraunce     .     .     .  Insignium,    Armorum,    Km-  4to    Londini 

blematum,  HierogL,  &^c. 

Zuingerus  .     .     .  I  cones    aliquot    clarorum    Vi-  8vo  Basileae 

rorum,  &>£. 

Caslius  (S.  S.)     .  Emblemata  Sacra    .         .         .  8vo  Romas 

Hortinus    .     .     .  Emblemata  Sacra    .         .         .  4to  Trajecti 


.  1586  /-. 
.  I588/. 

.  1589  /. 

.  1589  z/. 
.  1589  v. 


Camerarius    .     .  SymbolorumetEmblematum^&c.QQ  Norimberg    .  1590^. 

Arias  Montanus,  born  in  Estremadura  in  1527,  was  one  of 
the  very  eminent  scholars  of  Spain  ;  Furmerus,  a  Frieslander, 
flourished  during  the  latter  half  of  the  sixteenth  century,  and 
his  work  was  translated  into  Dutch  by  Coornhert  in  1585  ; 
Henri  Estieftne,  one  of  the  celebrated  printers  of  that  name,  was 
born  in  Paris  in  1528,  and  died  at  Lyons  in  1598  ;  a  list  of  his 
works,  many  of  them  of  high  scholarship,  occupies  eight  pages  in 
Brunet's  Manuel  du  Libraire.  The  name  of  Beza  is  of  similar 
renown  ;  —  both  Etienne  and  he  had  to  seek  safety  from  persecu- 
tion ;  and  when  Etienne's  effigy  was  being  burnt,  he  pleasantly 
said  "  that  he  had  never  felt  so  cold  as  on  the  day  when  he  was 
burning."  Laurence  Haechtanus  was  the  author  of  the  Parvus 
Mundus,  1579,  which  Gerardt  de  Jode  den  liefhebbers  der 
consten,  the  lover  of  art,  has  so  admirably  adorned.  Nicolas 
Reusner  was  a  man  of  extensive  learning,  to  whom  the  emperor 
Rudolph  II.  decreed  the  poetic  crown.  Francis  Modius  was  a 
Fleming,  a  learned  jurisconsult  and  Latinist,  who  died  at  Aire 
in  Artois,  in  1597,  at  the  age  of  sixty-one  ;  Theodore  Zuinger 
was  a  celebrated  physician  of  Bale  ;  and  Joachim  Camerarius, 
born  at  Nuremberg  in  1534,  also  a  celebrated  physician,  one  of 
the  first  to  form  a  botanical  garden,  "  attained  high  reputation 
in  his  profession,  and  was  consulted  for  princes  and  persons  of 
rank  throughout  Germany." 

An  edition  of  a  work  reputed  to  be  emblematic  belongs  to 
this  period  —  to  1587;  it  is  the  Physiologist,  by  S.  Epiphanius, 
to  whom  allusion  has  been  made  at  p.  28. 


EMBLEM-BOOK    LITERATURE. 


[CHAP.   II. 


GERMAN. 

Stimmer          .  Neue  Kunstliche  Figuren  Bib- 

lischen,  <&-v. 

Feyrabend      .  Stam  und  Wapenbuch 
Schrot    .     .     .   Wappenbuch       .... 
Lonicer,  J.  A. .  Stand  und Orden  der  heiligen  Ro- 

mischen  Catholischen  Kirchen. 
Clamorinus      .  Thurnier-buch    , 


4to  Besel .     . 

4to  Franckfurt 

8vo  Munich  . 

4to  Francfurt 


1576  /. 

1579  /-. 
1581  k. 
1585  v. 


4to    Dresden.     .  1590  k. 


Tobias  Stimmer  was  an  artist,  born  at  Schaffhausen  in  1544, 
and  in  conjunction  with  his  younger  brother,  John  Christopher 
Stimmer,  executed  part  of  the  woodcuts  in  the  Bible  of  Basle, 
1576  and  1586.  The  younger  brother  also  prepared  the  prints 
for  a  set  of  Emblems,  Icones  Affabrce,  published  at  Strasburg  in 
1591.  Sigismund  Feyrabend  is  a  name  of  great  note  as  a  de- 
signer, engraver  on  wood,  and  bookseller,  at  Francfort,  towards 
the  end  of  the  sixteenth  century.  Who  Martin  Schrot  was,  does 
not  appear  from  the  Biographic  Universelle ;  and  Clamorinus 
may  probably  be  regarded  as  only  the  editor  of  a  republication 
of  Rlixner's  Book  of  Tournaments  that  was  printed  in  1530. 

DUTCH  OR  FLEMISH. 

Van  Ghelen    .  Flemish  translation,  Navis  stul-      ...    Anvers      .     .15847;. 

torum. 
Coornhert  .     .  Recht  Ghebruyck  ende Misbruyck     410  Leyden     .     .15857'. 

"van  tydlycke  Have. 

SPANISH. 

Manuel  .     .     .  El  conde  Lucanor  (apologues  &  4to  Sevilla  .  .  1575  v. 

fables). 

Boria     .     .     .  Emprese  Morales        .        .        .  4to   Praga  .  .  .  1581  k. 

Guzman      .     .  Triiunphas  morales  (nueuamente  8vo  Medina  .  .  1587  /. 

corregidos). 

Horozco      .     .  Emblemas  Morales    .        .        .  8vo  Segovia  .  .  1589 1. 

Don  Juan  Manuel  was  a  descendant  of  the  famous  Al- 
phonso  V.  His  work  consists  of  forty-nine  little  tales,  with  a 
moral  in  verse  to  each.  It  is  regarded,  says  the  Biog.  Univ. 


SECT.  IV.]  FROM   A.D.     1564    TO    1590.  9I 

vol.  xxvi.  p.  541,  "as  the  finest  monument  of  Spanish  literature 
in  the  sixteenth  century."  There  are  earlier  editions  of  Fran- 
cisco de  Guzman's  Moral  Triumphs,  as  at  Antwerp  in  1557,  but 
the  edition  above  named  claims  to  be  more  perfect  than  the 
others.  Horozco  y  Covaruvias  was  a  native  of  Toledo,  and  died 
in  1608  ;  one  of  his  offices  was  that  of  Bishop  of  Girgenti  in 
Sicily.  In  1601  he  translated  his  Emblems  into  Latin,  and 
printed  it  under  the  title  of  Symbolce  Sacrcz. 

ENGLISH. 

Bynneman's    .   Translation   of    Vander  Noot^s  8vo  London  .  .  1569  v. 

Theatre. 

North     .     .     .   The  Morall  Philosophic  of  Doni  4to    London  .  .  1570^. 

Daniell  .     .     .   The    worthy    tract    of  Paulus  8vo  London  .  .  1585  k. 

Jovius,  &*c. 

Whitney     .     .  A  Choice  of  Emblemes,  &c.        '.  4to    Leyden  .  .  1586  £. 

Henry  Bynneman,  whose  name  is  placed  before  the  version 
of  Vander  Noot's  Theatre,  is  not  known  with  any  certainty  to 
have  been  the  translator.  He  was  a  celebrated  printer  in 
London  from  about  1566  to  1583.  Sir  Thomas  North,  to  whose 
translation  of  Plutarch,  Shakespeare  was  largely  indebted, 
was  probably  an  ancestor  of  the  Lord  Keeper  of  the  Great 
Seal  under  Charles  II.  Samuel  Daniell  enjoyed  consider- 
able reputation  as  a  poet,  and  on  Spenser's  death  in  1598,  was 
appointed  poet-laureate  to  the  Queen.  Of  Whitney  it  is  known 
that  he  was  a  scholar  of  Oxford  and  of  Cambridge,  and  that  his 
name  appears  on  the  roll  of  the  university  of  Leyden.  He  was 
a  native  of  Cheshire,  and  died  there  in  1601.  It  may  be  added 
that  an  edition  of  Barclay's  Ship  of  Fooles  was  in  1570 
"  Imprinted  at  London  in  Paules  Churchyarde  by  John  Cawood 
Printer  to  the  Queenes  Maiestie." 

Thus,  in  the  period  between  Shakespeare's  birth  and  his  full 
entry  on  his  dramatic  career,  we  have  named  above  sixty 
persons,  many  of  great  eminence,  who  amused  their  leisure,  or 


92 


EMBLEM-BOOK   LITERATURE. 


[CHAP.  II. 


indulged  their  taste,  by  composing  books  of  Emblems  ;  had  we 
named  also  the  editions  of  the  same  authors,  within  these 
twenty-five  years,  they  would  have  amounted  to  156,  exclusive 
of  many  reprints  from  other  authors  who  wrote  Emblems 
between  A.D.  1500  and  A.D.  1564. 

II.  —  Shakespeare's  Dramatic  Career  comprises  another 
period  of  twenty-five  years, — from  1590  to  1615.  From  the 
necessity  of  the  case,  indeed,  few,  if  any  of  the  Emblem  writers 
and  compilers  towards  the  end  of  the  time  could  be  known  to 
him,  and  any  correspondence  between  them  in  thoughts  or 
expressions  must  have  been  purely  accidental.  For  the  com- 
pletion of  our  Sketch,  however,  we  proceed  to  the  end  of  the 
period  we  had  marked  out.  And  to  save  space,  and,  we  hope, 
to  avoid  tediousness,  we  will  continue  the  tabulated  form 
adopted  in  the  last  Section. 


ITALIAN. 

Bernardetti .  Giornata  prima  deW  Imprese     . 
Capaccio     .  Delle  Imprese    trattato,   in    tre 

libri  diviso. 

Tassp      .     .  Discorsi  del  Poeme 
Porri  .     .     .   Vaso  di  verita  .  .  delP  antichristo 
Dalla  Torre  Dialogo       ..... 
Caputi     .     .  La  Pompa  ..... 
Zoppio    .     .  La  Montagna      .... 

Belloni    .     .  D  is  cor  so 

Chiocci   .     .  Delle  imprese,  e  del  vero  modo  di 

formarle. 
Pittoni    .     .  Imprese  di  diversi  principi,  <3rv. 

(reprint). 
Ripa  .     .     .  Iconologia,  &^c.}    Concetti,  Em- 

blemi,  ed  Imprese. 

•>i  11  11  11  11 

Vaenius  .     .  Amorum  Emblemata,  in  Latin, 

English,  and  Italian. 

Glissenti      .  Discorsi  morali  .   .   .  contra   il 
dispiacer  del  niorire,  &*c. 


4to 


...     about  1592  77. 
Napoli  . 


4to 

Napoli  . 

.  1594^. 

4to 

Venetia 

•  1597  *>• 

4to 

Trivegi  . 

.  1598  £. 

4to 

Napoli  . 

.  1599^- 

4to 

Bologna 

.  1600  k. 

4to 

Padova 

.  1  60  1  k. 

1601  v. 

fol.      Venezia  .  1602  v. 

4to      Roma    .  .  1603  k. 

4to      Siena    .  .  1613  /. 

obi.  4to  Antverp.  .  i6o8/&.  /. 

4to      Venetia  .  1609  v. 


SECT.  IV.] 


FROM   A.JD.     1590    TO    1615. 


93 


Giulio  Cesare  Capaccio,  besides  his  Neapolitan  History,  and 
one  or  two  other  works,  is  also  the  author  of  //  Principe, 
Venetia,  1620,  a  treatise  on  the  Emblems  of  Alciatus,  with  more 
than  200  political  and  moral  notices.  Torquato  Tasso  is  a 
name  that  needs  no  praise  here.  Of  Alessio  Porri  I  have  found 
no  other  mention  ;  and  I  may  say  the  same  of  Gio.  Dalla  Torre, 
of  Ottavio  Caputi,  and  of  Gio.  Belloni.  Melchior  Zoppio,  born 
in  1544  at  Bologna  (Biog.  Univ.  vol.  lii.  p.  430),  was  one  of  the 
founders  of  the  Academia  di  Gelati,  in  his  native  town.  Battisti 
Pittoni  was  a  painter  and  engraver,  who  flourished  between  1561 
and  1585.  The  extensive  work  of  Cesare  Ripa  of  Perugia, 
which  has  passed  through  about  twenty  editions  in  Italian, 
Latin,  Dutch,  Spanish,  German,  and  English,  is  alphabetically 
arranged,  and  treats  of  nearly  800  different  subjects,  with  about 
200  devices.  Otho  van  Veen,  or  Vaenius,  belongs  to  Holland, 
not  to  Italy, — and  his  name  appears  here  simply  because  his 
Emblems  of  Love  were  translated  into  Italian.  Fabio  Glissenti 
in  1609  introduced  into  his  work  (Brunet,  iii.  c.  256,  7)  twenty- 
four  of  the  plates  out  of  the  forty-one  which  adorned  an  Italian 
edition  of  the  Images  of  Death  in  1545. 


FRENCH. 
Desprez  .     .   Theatre  des  animaux .  .  .  actions 

de  la  vie  humaine. 
Boissart .     .  Mascarades     re  cite  it  lies,     Geyn 

(J.  de)  Opera. 
Emblesmes.  Emblesmes  sus  les  Actions — du 

Segnor  Espagnol. 
Hymnes       .  Hymnes  des  vertus  .  .  .  par  belles 

et  delicates  figures. 
Vaenius   .     .  Amorum     Emblemata     (Latin, 

Italian,  and  French). 
Vassjeur  .     .  Les     Devises     des     Empereurs 

Remains,  6rv. 

„  Les  De-vises  des  Rots  de  France  . 

Valence  .     .  Emblesmes  sur  les  Actions — du 

Segnor  Espagnol. 


4to    Paris    .     .     . 

1595  v. 

4to 

1597  -v. 

I2mo  Mildelbourg  . 

1605  k. 

8vo    Lyon     .     .     . 

1605  v. 

4to    Antverpise 

1608  v. 

8vo    Paris    .     ,     . 

1608  /. 

...     Paris     .     .     . 
8vo 

1609  v. 

1608  k. 

94 


EMBLEM-BOOK   LITERATURE. 


[CHAP.   II. 


Rollenhagen  Les  Emblemes  .  .  .  mis  en  vers      4to    Coloniae    .     .    161177. 

franqois. 
Dinet  .  .  Les  cinq  Livres  des  Hitrogly-  4to  Paris  .  .  .  1614  v. 

phiques. 
De  Bry  .  .  Pourtraict  de  la  Cosmographie  4to  Francfort  .  1614  z/. 

morale. 


Robert  Boissart,  a  French  engraver  (Bryan,  p.  90)  flourished 
about  1590,  and  is  said  to  have  resided  some  time  in  England. 
Of  Vaenius,  so  well  known,  there  is  no  occasion  to  speak  here. 
Jacques  de  Vasseur  was  archdeacon  of  Noyon,  celebrated  as  the 
birth-place  of  Calvin,  and  in  1608  also  published  another  work 
in  French  verse,  Antithises,  ov  Contrepointes  du  del  &  de  la 
Terre.  Desprez  and  Valence  are  unknown  save  by  their  books 
of  Emblems.  Pierre  Dinet  is  very  briefly  named  in  Biog.  Univ. 
vol.  ii.  p.  371;  and  Rollenhagen  and  De  Bry  will  be  mentioned 
presently. 

LATIN. 


Callia  . 


32mo     Heidelbergse  1591  k. 
1591  /. 


,  Emblemata   sacra,   e  libris 
Mosis  excerpta. 

Borcht      .     .  P.  Ovidii    Nasonis    Meta-  obi.  i6mo  Antverpiae 
morphoses. 

Stimmer  .     .  Icones  Affabra Strasburg 

Mercerius      .  Emblemata  ....        4to       Bourges  . 

De  Bry     .     .  Emblemata      nobilitate      et    obi.  410   Francof. 

vulgo  scitu  digna. 
„         .     .  Emblemata  secularia  . 

Freitag     .     .    Viridiarium   Moralis  Phil, 
per  fabulas,  &>€. 

Taurellius      .  Emblemaphysico-ethica^c. 

Boissard        .  Theatrum  mice  Humana    . 

Franceschino  Hori  Apollinis  selecta  Jiiero- 
glyphica. 

Le     Bey     de  Emb.   a   J.  Boissard   deli- 
Batilly.  neata,  &c. 

Altorfmae  .     .  Emb.     anniversaria     Aca- 
demic Altorfince. 

David  .     .     .    Virtutis  spectaculum   . 
„  .     .    Veridicus  christianus  . 


4to 

4to 

8vo 
4to 
i6mo 


1591  v. 

1592  /. 
1592  v. 

I593Z/. 


Colonise 


Norimbergae  1595  k. 
Metz  .  .  .  1596  /. 
Romas  .  .  1597  v. 


4to       Francof.  .     .  1596^  k. 
Norimbergae  1597  k.c.t. 


4to 


4to 
4to 


Francof.  . 
Antverpiae 


1597^. 
1601  t.k. 


SECT.  IV.] 


FROM  A.D.     1590    TO    1615. 


95 


David      .     .  Occasio  arrepta,  neglecta,&*c. 
„         .     .  Pancarpium  Marianum 
„          .     .  Messis    myrrhce   et  aroma- 

titm,  &C. 
„         .     .  Paradisus  sponsi  et  sponscst 

&c. 

„         .     .  Dvodecim  Specvla,  &*c. 
Sadeler,  ^Eg.  Symbola  Divina  et  Humana 

Pontif.  Imper.,  &^c. 
„  Symb.  Div.  et.  Hum.,  &c.j 

Isagoge  Jac.  Typotii. 
Passaeus      .  Metamorphoseun  Ouidiana- 

rum  typi,  &>c. 
Epidigma    .  Emblematum    Philomilcs 

Thilonia  Epidigma. 
Vsenius  .     .  Horatii  Emblemata,  imagi- 

nibus  (ciii.)  in  CBS  incisis. 
„        .     .  Amorvm    Emblemata,    Fi- 

gvris  ceneis  incisa. 

„        .     .  Amor  is  Divini  Emblemata 

Pignorius    .    Vetustissimce    tabula    cenece 

sacris  AZgyptiorum  simu- 

lacris  cczlatce  explicatio. 

„  .  Characteres  dEgyptii  .  .  per 

Jo.  Th.  et  lo.  Isr.  de  Bry. 

Sadeler,^g.  Theatrum  morum.  Artliche 

gesprach  der   Thier   met 

ivahren  Historien,  &»c. 

Broecmer    .  Emblemata  moralia  et  ceco- 

nomica. 

Aleander     .  Explicatio  antiques  Fabulce 
marmorece    Solis    effigie, 
symbolisque  exsculptce,  &c. 
Rollenhagen  Nvclevs    Emblematum    se- 
lectissimorum. 

5)  »  J>  » 

Hillaire  .     .  Specvlvm    Heroicvm — Ho- 

meri — Iliados. 
A  Bruck     .  Emblemata  moralia  et  bellica 


4to 
8vo 
8vo 

Antverpise 

j> 
11 

.  1605  c.  t. 
1607  /. 
1607  v. 

8vo 

11 

1607  k. 

8vo 
fol. 

11 
Prague     . 

1610  /.  k. 
.  1600  k. 

fol. 

Francof.  . 

.  1601,  2,3^. 

obi. 

4to 

1602  /. 

4to 

... 

1603  v. 

4to 

Antuerp  . 

.  1607  k. 

4to 

Antuerpice 

.  1608  /.  k. 

4to 
4to 

Antuerpice 
Venetia   . 

.  1615  /. 
.  1605  v. 

4to  Francofurti     1608  v. 

4to  Pragae      .     .  1608. 

4to  Arnhemi .     .  1609  /. 

4to  Romas     .    .1611  k. 

4to  Colonise  .     .  i6i 

4to  Arnhemi       .  1615  k. 

4to  Traject.  Bat.  1613  c. 

4to  Argentinas    .  1615  v. 


Peter   Vander   Borcht,    born   at   Brussels   about   A.D.    1540, 
engraved  numerous  works,  and  among  them  178  prints  for  this 


96  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

edition  of  Ovid.  The  Stimmers  have  been  mentioned  before, 
p.  90.  Jean  Mercier,  born  at  Uzes  in  Languedoc,  wrote  the 
Latin  version  of  the  Hieroglyphics  of  Horapollo,  Paris,  1548, — 
but  probably  it  was  his  son  Josias  whose  Emblems  are  men- 
tioned under  the  year  1592,  and  who  dates  them  from  Bruges. 
Theodore  De  Bry,  born  at  Liege  in  1528  (Bryan,  p.  119),  carried 
on  the  business  of  an  engraver  and  bookseller  in  Francfort, 
where  he  died  in  1598.  He  was  greatly  assisted  by  his  sons 
John  Theodore  and  John  Israel.  The  Procession  of  the  Knights 
of  the  Garter  in  1566,  and  that  at  the  Funeral  of  Sir  Philip 
Sidney,  are  his  workmanship.  Nicolas  Taurellius  was  a 
student,  and  afterwards  professor  of  Physic  and  Medicine  in 
the  University  of  Altorf  in  Franconia.  An  oration  of  his  appears 
in  the  Etnblemata  Anniversaria  of  that  institution.  He  was 
named  "the  German  Philosopher."  Denis  le  Bey  de  Batilly 
appears  to  have  been  royal  president  of  the  Consistory  of  Metz. 
John  David,  born  at  Courtray  in  Flanders,  in  1546,  entered  the 
Society  of  the  Jesuits,  and  was  rector  of  the  colleges  of  Courtray, 
Brussels,  and  Ghent;  he  died  in  1613.  ^Egidius  Sadeler, 
known  as  the  Phoenix  of  engravers,  was  a  native  of  Antwerp, 
born  in  1570,  the  nephew  and  disciple  of  the  two  eminent 
engravers  John  and  Raphael  Sadeler.  He  enjoyed  a  pension 
from  three  successive  emperors,  Rodolphus  II.,  Matthias,  and 
Ferdinand  II.  Of  Crispin  de  Passe,  born  at  Utrecht  about  1560, 
Bryan  (p.  $48)  says,  "  He  was  a  man  of  letters,  and  not  only 
industrious  to  perfect  himself  in  his  art,  but  fond  of  promoting 
it."  His  works  were  numerous,  and  have  examples  in  the 
Emblem-books  of  his  day.  Otho  van  Veen,  of  a  distinguished 
family,  was  born  at  Leyden  in  1556.  After  a  residence  of  seven 
years  in  Italy,  he  established  himself  at  Antwerp,  and  had  the 
rare  claim  to  celebrity  that  Rubens  became  his  disciple.  In  his 
Emblem-works  the  designs  were  by  himself,  but  the  engravings 
by  his  brother  Gilbert  van  Veen.  (Bryan,  p.  853,  4.)  Lawrence 


SECT.  IV.]  FROM   A.D.     1590     TO    1615. 


97 


Pignorius,  born  at  Padua,  1571,  and  educated  at  the  Jesuits' 
school  and  the  university  of  that  city,  gained  a  high  reputation 
by  several  learned  works,  and  especially  by  those  on  Egyptian 
antiquities.  He  died  of  the  plague  in  1631.  The  work  of 
Richard  Lubbaeus  Broecmer,  is  little  more  than  a  reprint  of  one 
by  Bernard  Furmer,  in  1575,  On  the  Use  and  Abuse  of  Wealth. 
Jerome  Aleander,  nephew  of  one  of  Luther's  stoutest  opponents, 
the  Cardinal  Aleander,  was  of  considerable  literary  reputation  at 
Rome,  being  a  member  of  the  society  of  Humourists,  estab- 
lished in  that  city, — his  death  was  in  1631.  According  to 
Oetlinger's  brief  notice,  Bibliog.  Biograph.  Univ.,  Gabriel  Rollen- 
hagen,  of  Magdeburg,  was  a  German  schoolmaster,  born  in 
1542,  and  dying  in  1609 ;  his  Kernel  of  Emblems  is  well  illus- 
trated by  Crispin  de  Passe.  The  same  " excellent  engraver" 
adorned  The  Mirror  of  Heroes,  founded  on  Homer's  Iliad  by  "le 
sieur  de  la  Riviere,  Isaac  Hillaire."  Both  Latin  and  French 
verses  are  appended  to  the  Emblems,  and  at  their  end  are  curious 
"  Epitaphs  on  the  Heroes  who  fell  in  the  Trojan  war,"  too  late, 
it  is  to  be  feared,  to  afford  any  gratification  to  their  immediate 
friends.  To  Jacobus  a  Bruck,  surnamed  of  Angermunde,  a  town 
of  Brandenberg,  there  belongs  another  Emblem-book,  Emble- 
mata  Politica,  Cologne,  1618.  In  it  are  briefly  demonstrated  the 
duties  which  belong  to  princes  ;  it  is  dedicated  "  to  his  most 
merciful  Prince  and  Lord,  the  Emperor  Matthias  I.,  '  semper 
Augusto.' " 

GERMAN. 

De  Bry  .     .  Emblemata  Secvlaria— rhythmis  4to  Francofurti  .  1596^. 

Germanicis,  «3rv. 

.     .     „  „  „  „  4to  Oppenhemii  .  1611  /. 

Boissard    .  Shawspiel  Menschliches  Lebens  4to  Franckf.     .  .  1597  v. 

Sadeler.     .  Theatrum     morum.       Artliche  4to  Praga     .     .  .  1608  v. 
gesprach  der  Thier,  &c. 

DUTCH  OR  FLEMISH. 
David          .  Christeliicke  .        .        4to      Antuerp    .     .1603  k. 


98  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

Vasnius   .     .  Zinnebeelden  der  Wereldtsche     4to          Amstel.   .     .    1603  v. 

Liefde. 
A  Ganda     .  Spiegel  van  de   doorluchtige,      obi.  4to  Amsterod.    .    1606  t. 

&*£.,  Vrouwen. 

„  .  .  Embletnata  Amatoria  Nova  .  obi.  4to  Lugd.  Bat.  .  1613  k. 
M  oerman  .  De  Cleyn  Werelt  .  .  .  met-  410  Amstelred.  .  1608  k. 

over  schoone  Const-platen. 
leucht.    .     .  Den   nieuwen  leucht  spieghel     obi.  4to  ...  1610  /. 

...  C.  de  Passe. 

Embl.  Amat.  Afbeeldinghen,  &>c.          ,         .      obi.  4to  Amsterd.      .    1611  k. 
Gulden    .     .  Den     Gulden     Winckel     der     4to          Amsterdam.    1613  k. 

Konstliev  ende  Nederlanders 

Gestoffeert. 
Bellerophon  Bellerophon^  of  Lust  tot  Wys-     4to          Amsterdam.    1614  k. 

heyd. 
Visscher      .  Sinnepoppen  (or  Emblem  Play)      I2mo      Amsterdam.    1614  k. 

van  Roemer  Visscher. 

De  Bry,  Sadeler,  David,  and  Vsenius  have  been  mentioned 
in  page  96.  Theocritus  a  Ganda  is  known  for  this  work, 
The  Mirror  of  virtuous  Women,  for  which  Jost  de  Hondt 
executed  the  fine  copper-plates  that  accompany  it ;  and  also 
for  Emblemata  Amatoria  Nova,  published  at  Amsterdam  in 
1608,  and  at  Ley  den  in  1613.  The  Little  World,  by  Jan 
Moerman,  is  of  the  same  class  with  Le  Microcosme,  Lyons,  1562, 
by  Maurice  de  Sceve  ;  or  with  "  M[KPOKO2MO2,"  Antwerp, 
1584  and  1594,  and  which  Sir  Win.  Stirling-Maxwell  attributes 
to  Henricus  Costerius  of  Antwerp.  The  New  Mirror  of  Youth, 
1610  ;  The  Delineations,  1611  ;  The  golden  Ship  of  the  Art- 
loving  Netherlander  finished,  1613  ;  and  Bellerophon,  or  Plea- 
sure of  Wisdom^  1614  ;  are  all  anonymous.  Roemer  van 
Visscher,  born  at  Amsterdam  in  1547  (Biog.  Univ.  vol.  xlix. 
p.  276),  is  of  high  celebrity  as  a  Dutch  poet, — with  Spiegel 
and  Coornhert,  he  was  one  of  the  chief  restorers  of  the  Dutch 
language,  and  an  immediate  predecessor  of  the  two  illus- 
trious poets  of  Holland,  Cornelius  van  Hooft  and  Josse  du 
Vondel. 


SECT.  IV.] 


FROM   A.D.     1590     TO    1615. 


99 


SPANISH. 

De  Soto  .  Emblemas  Moralizadas .        .        .  8vo  Madrid    .     . 

Vaenius    .  Amorum  emblemata.     (Latin   and  4to  Antuerpias    .   1608  v. 

Spanish  verses). 

„         .  Amoris    divini   Emb....hispanic%,  4to  „  1615  /. 

&c. 

Orozco     .  Emblemas  Morales         .        .        .  4to  Madrid    .     .   i6io/.  k. 

Villava     .  Empresas  Espirituales y  Morales .  410  Baega      .     . 


Hernando  de  Soto  was  auditor  and  comptroller  for  the 
King  of  Spain  in  his  house  of  Castile.  At  the  end  are  stanzas 
of  three  verses  each,  in  Latin  and  Spanish  on  alternate  pages, 
"to  our  Lady  the  Virgin."  Don  Sebastian  de  Couarrubias 
Orozco  was  chaplain  to  the  King  of  Spain,  schoolmaster  and 
canon  of  Cuenca,  and  adviser  of  the  Holy  Office.  Both  Soto  and 
Orozco  dedicate  their  works  to  Don  Francisco  Gomez  de  San- 
doual,  Duke  of  Lerma.  Juan  Francisco  de  Villava  dedicates  his 
first  Emblem  "  to  the  Holy  and  General  Inquisition  of  Spain." 
Neither  of  the  three  names  occurs  in  the  Biographies  to  which 
I  have  access. 

ENGLISH. 

P.  S.  .     .     .   The  Heroicall  Devises  of  M.     8vo    London  .     .  1591  c. 

Clavdivs  Paradin. 
Wyrley   .     .   ThetrueuseofArmorie,shewed    4to     London  .     .   1592  v. 

by     historic,     and    plainly 

proved  by  example. 
Willet      .     .  Sacrorvm  Emblematvm  Cen-    4to     Cambridge  .  1 598  v. 

tvria  vna,  &C.     A  Century 

of  Sacred  Emblems. 
Crosse     .     .  Crose  his  Covert,  or  a  Proso-     MS.  .     .      About  1600  c. 

popcsicall  Treatise. 
Vaenius   .     .  Amorum  Emblemata    (Latin,    4to     Antverpiaa  .   1608  k.  t. 

English,  and  Italian). 

Guillim   .     .  A  Display  of  Heraldry   .         .     fol.     London.     .  i6u£. 
Peacham     .  Minerva  Britanna,or  a  Garden    4to     London  .     .  1612  c.  t.  k. 

of  Heroical  Deuises,  &>c. 
Yates,  MS.  .   The  Emblems  of  Alciatns  in     MS.   .     .      About   1610  t. 

English  verse. 


ioo  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

William  Wyrley's  True  use  of  Arms,  was  reprinted  in  1853. 
In  Censura  Lit.,  i.  p.  313,  Samuel  Egerton  Brydges  gives  a 
pleasing  account  of  the  character  of  Andrew  Willet,  whom 
Fuller  ranks  among  England's  worthies  (vol.  i.  p.  238).  Of  John 
Crosse  himself,  nothing  is  known,  but  his  MS.  is  certainly 
not  later  than  Elizabeth's  reign,  for  the  royal  arms,  at  p.  33, 
are  of  earlier  date  than  the  accession  of  the  Stuarts  ;  and  the 
allusion  to  the  Belgian  dames,  pp.  2 — 6,  agrees  with  her  times. 
The  work  contains  120  shields  and  devices,  and  was  lent  me  by 
my  very  steadfast  friend  in  Emblem  lore,  Mr.  Corser  of  Stand. 
At  pp.  10  and  37,  it  is  said, — 

"In  Troynovant  a  famous  schoole  was  founde 
By  famous  Citizens  ;  whilome  the  grounde 
Of  noble  Boone;"— 
and 

"  To  traine  vp  youth  in  tongues  fewe  might  compare 
With  Mulcaster,  whose  fame  shall  never  fade." 

Now  it  was  in  1561  Richard  Mulcaster,  of  King's  College, 
Cambridge,  and  of  Christchurch,  Oxford,  was  appointed  head 
master  of  Merchant-Taylor's  School  in  London,  then  just 
founded.  (Warton,  iii.  282.)  Thus  it  is  shown  to  be  very 
'  probable  that  Crosse  his  Covert  may  take  date  not  later  than 
A.D.  1600.  It  may  be  added  that  at  the  end  of  the  MS.  the 
figure  of  Fortune,  or  Occasion,  on  a  wheel,  is  almost  a  fac-simile 
from  Whitney's  Device,  p.  181,  which  was  itself  struck  from  the 
block  (Emb.  121.  p.  438)  of  Plantin's  edition  of  Alciatus, 
MDLXXXI.  John  Guillim's  work  on  Heraldry  passed  through 
five  editions  previous  to  that  of  Capt.  John  Logan,  in  1724  ;  the 
original  folio  is  one  of  the  book-treasures  at  Keir.  Henry 
Peacham,  Mr-  of  Artes,  as  he  terms  himself,  was  a  native  of 
Leverton  in  Holland,  in  the  county  of  Lincoln,  and  a  student 
under  "the  right  worshipfull  Mr.  D.  Laifeild,"  in  Trinity  College, 
Cambridge.  He  has  dedicated  his  work  "  to  the  Right  High 


SECT.  IV.]  FROM   A.D.     1590     TO    1615.  101 

and  Mightie  Hcnrie,  Eldest  Sonne  of  our  Soveraigne  Lord  the 
King." 

Singular  it  is,  that  except  the  MS.  which  belonged  to  the  late 
Joseph  B.  Yates,  of  Liverpool,  there  is  not  known  to  exist  any 
translation  into  English  of  the  once  famous  Emblems  of 
Alciatus.  That  MS.  (see  Transact.  Liverpool  L.  and  P.  Society, 
Nov.  5,  1849)  "appears  to  be  of  the  time  of  James  the  First." 
The  Devices  are  drawn  and  coloured,  and  have  considerable 
resemblance  to  those  in  Rapheleng's  edition  of  Alciatus,  1608. 
As  a  specimen  we  add  the  translation  of  Emblem  xxxm. 
p.  39,  "  Signa  fortium." 

"  O  Saturn's  birde  !  what  cause  doth  thee  incyte 

Upon  Aristom's  tombe  so  highe  to  sitt  ? 
'  As  I  all  other  birds  excell  in  mighte — 

So  doth  Aristom,  Lords,  in  strength  and  witt. 
Let  fearful  Doves  on  cowards'  tombs  take  rest — 
We  Eagles  stoute  to  stoute  men  give  a  crest.' " 

How  pleasant  to  feel  that  this  Sketch  of  Emblem-books  and 
their  authors,  previous  to  and  during  the  times  of  Shakespeare, 
has  been  brought  to  an  end.  "  Vina  coronant,"  fill  a  bumper, 
"  let  the  sparkling  glass  go  round." 

The  difficulty  really  has  been  to  compress.  The  materials 
collected  were  most  abundant.  From  curiously  or  artistically 
arranged  title  pages, — from  various  dedications, — from  devices 
admirably  designed  or  of  wondrous  oddity, — and  from  the 
countless  collateral  subjects  among  which  the  Emblem  writers 
and  their  commentators  disported  themselves,  the  temptations 
were  so  rich  to  wander  off  here  and  there,  that  it  was  necessary 
continually  to  remember  that  it  was  a  veritable  sketch  I  was 
engaged  on  and  not  a  universal  history.  I  lashed  myself  there- 
fore to  the  mast  and  sailed  through  a  whole  sea  of  syrens,  deaf, 
though  they  charmed  ever  so  sweetly  to  make  me  sing  with 
them  of  emperors  and  kings,  of  popes  and  cardinals,  of  the 


J02  EMBLEM-BOOK   LITERATURE.  [CHAP.  IT. 


learned  and  the  gay,  who  appeared  to  believe  that  everyone's 
literary  salvation  depended  on  the  contrivance  of  a  device  and 
the  interpretation  of  an  emblem. 

Had  I  known  where  to  refer  my  readers  for  a  general  view  of 
my  subject,  either  brief  or  prolix,  I  should  have  spared  myself  the 
labour  of  compiling  one.  The  results  are,  that,  previous  to  the  year 
1616,  the  Emblem  Literature  of  Europe  could  claim  for  its  own 
at  least  200  authors,  not  including  translators,  and  that  above 
770  editions  of  original  texts  and  of  versions  had  issued  from 
the  press.* 

If  Shakespeare  knew  nothing  of  so  wide-spread  a  literature  it 
is  very  wonderful ;  and  more  wondrous  far,  if  knowing,  he  did 
not  inweave  some  of  the  threads  into  the  very  texture  of  his 
thoughts. 

In  this  Sketch  of  Emblem  writers,  it  will  be  perceived, 
though  their  names  are  seldom  heard  of  except  among  the 
antiquaries  of  letters,  that,  as  a  class,  they  were  men  of  deep 
erudition,  of  considerable  natural  power,  and  of  large  attain- 
ments. To  the  literature  of  their  age  they  were  as  much 
ornaments  as  to  the  literature  of  our  modern  times  are  the 
works,  illustrated  or  otherwise,  with  which  our  hours  of  leisure 
are  wont  to  be  both  amused  and  instructed.  No  one  who  is 
ignorant  of  them  can  possess  a  full  idea  of  the  intellectual 
treasures  of  the  more  cultivated  nations  of  Europe  about  the 
period  of  which  the  works  of  Alciatus  and  of  Giovio  are  the 
types.  We  may  be  learned  in  its  controversies,  well  read  in 
its  ecclesiastical  and  political  history,  intimate  even  with  the 
characters  and  pursuits  of  its  great  statesmen  and  sovereigns, 
and  strong  as  well  as  enlightened  in  our  admiration  of  its 

*  Since  the  above  was  written  I  have  good  reasons  for  concluding  that  the  fact  is 
very  much  understated.  I  am  now  employed,  as  time  allows,  in  forming  an  Index  to 
my  various  notes  and  references  to  Emblem  writers  and  their  works  :  the  Index  so 
far  made  comprises  the  letters  A,  B,  C,  D  (very  prolific  letters  indeed),  and  they 
present  330  writers  and  translators,  and  above  900  editions. 


SECT.  IV.]  FROM   A.D.     1590     TO    1615.  103 

painters,  statuaries,  poets,  and  other  artistic  celebrities,  but  we 
are  not  baptized  into  its  perfect  spirit  unless  we  know  what 
entertainment  and  refreshing  there  were  for  men's  minds  when 
serious  studies  were  intermitted  and  the  weighty  cares  and 
business  of  life  for  a  while  laid  aside. 

Take  up  these  Emblem  writers  as  great  statesmen  and 
victorious  commanders  did  ;  read  them  as  did  the  recluse  in  his 
study  and  the  man  of  the  world  at  his  recreation  ;  search  into 
them  as  some  did  for  good  morals  suitable  to  the  guidance  of 
their  lives,  and  as  others  did  for  snatches  of  wit  and  learning 
fitted  to  call  forth  their  merriment ;  and  see,  amid  divers 
conceits  and  many  quaintnesses,  and  not  a  few  inanities  and 
vanities,  how  richly  the  fancy  was  indulged,  and  how  freely  the 
play  of  genius  was  allowed ;  and  then  will  you  be  better 
prepared  to  estimate  the  whole  literature  of  the  nations  of  that 
busy,  stirring  time,  when  authorities  were  questioned  that  had 
reigned  unchallenged  for  centuries,  and  men's  minds  were 
awakened  to  all  the  advantages  of  learning,  and  their  tastes 
formed  for  admiring  the  continually  varying  charms  of  the 
poet's  song  and  the  artist's  skill. 

True  ;  those  strange  turns  of  thought,  those  playings  upon 
mere  words,  those  fanciful  dreamings,  those  huntings  up  and 
down  of  some  unfortunate  idea  through  all  possible  and  impos- 
sible doublings  and  windings,  are  not  approved  either  by  a  purer 
taste,  or  by  a  better-trained  judgment.  We  have  outgrown  the 
customs  of  those  logo-maniacs,  or  word-worshippers,  whom  old 
Ralph  Cudworth,  in  his  True  Intellectual  System  of  the  Universe, 
p.  67,  seems  to  have  had  in  view,  when  he  affirms,  "  that  they 
could  not  make  a  Rational  Discourse  of  anything,  though  never 
so  small,  but  they  must  stuff  it  with  their  Quiddities,  Entities, 
Essences,  Hsecceities,  and  the  like." 

But  at  the  revival  of  literature,  when  the  ancient  learning 
was  devoured  without  being  digested,  and  the  modern  investiga- 


io4  EMBLEM-BOOK   LITERATURE.  [CHAP.  II. 

tions  were  not  always  controlled  by  sound  discretion, — when  the 
child  was  as  a  giant,  and  the  giant  disported  himself  in  fantastic 
gambols, — we  must  not  wonder  that  compositions,  both  prose 
and  poetic,  were  perpetrated  which  receive  unhesitatingly  from 
the  higher  criticism  the  sentence  of  condemnation.  But  in 
condemning  let  not  the  folly  be  committed  of  despising  and 
undervaluing.  We  may  devotedly  love  our  more  advanced 
civilization,  our  finer  sensibilities,  and  our  juster  estimate  of 
what  true  taste  for  the  beautiful  demands,  and  yet  we  may 
accord  to  our  leaders  and  fathers  in  learning  and  refinement  the 
no  unworthy  commendation,  that,  with  their  means  and  in  their 
day,  they  gave  a  mighty  onward  movement  to  those  literary 
pursuits  and  pleasures  in  which  the  powers  of  the  fancy  heighten 
the  glow  of  our  joy,  and  the  resources  of  accurate  knowledge 
bestow  an  abiding  worth  upon  our  intellectual  labours. 


Sambucus,  1564. 


CHAP.  III.]        SHAKESPEARE'S    ATTAINMENTS.  105 


CHAPTER    III. 

SHAKESPEARE'S    ATTAINMENTS    AND    OPPORTUNITIES 
WITH    RESPECT    TO    THE    FINE    ARTS. 

MONG  some  warm  admirers  of  Shake- 
speare it  has  not  been  unusual  to  depre- 
ciate his  learning  for  the  purpose  of 
exalting  his  genius.  It  is  thought  that 
intuition  and  inborn  power  of  mind 
accomplished  for  him  what  others,  less 
favoured  by  the  inspiration  of  the  all- 
directing  Wisdom,  could  scarcely  effect 

by  their  utmost  and  life-patient  labours.  The  worlds  of  nature 
and  of  art  were  spread  before  him,  and  out  of  the  materials, 
with  perfect  ease,  he  fashioned  new  creations,  calling  into 
existence  forms  of  beauty  and  grace,  and  investing,  them  at  will 
with  the  rare  attributes  of  poetic  fancy. 

On  the  very  surface,  however,  of  Shakespeare's  writings,  in 
the  subjects  of  his  dramas  and  in  the  structure  of  their  respective 
plots,  though  we  may  not  find  a  perfectly  accurate  scholarship, 
we  have  ample  evidence  that  the  choicest  literature  of  his  native 
land,  and,  through  translations  at  least,  the  ample  stores  of 
Greece  and  of  Italy  were  open  to  his  mind.  Whether  his  scenes 
be  the  plains  of  Troy,  the  river  of  Egypt,  the  walls  of  Athens,  or 
the  capitol  of  Rome,  his  learning  is  amply  sufficient  for  the 
occasion  ;  and  though  the  critic  may  detect  incongruities  and 


io6  SHAKESPEARE'S    ATTAINMENTS       [CHAP.  III. 

errors,*  they  are  probably  not  greater  than  those  which  many  a 
finished  scholar  falls  into  when  he  ventures  to  describe  the 
features  of  countries  and  cities  which  he  has  not  actually  visited. 
The  heroes  and  heroines  of  pagan  mythology  and  pagan 
history,  the  veritable  actors  in  ancient  times  of  the  world's  great 
drama, — or  the  more  unreal  characters  of  fairy  land,  of  the 
weird  sisterhood,  and  of  the  wizard  fraternity, — these  all  stand 
before  us  instinct  with  life.t  And  from  the  old  legends  of 
Venice,  of  Padua  and  Verona, — from  the  traditionary  lore  of 
England,  of  Denmark,  and  of  Scotland, — or  from  the  more 
truth-like  delineations  of  his  strictly  historical  plays,  we  may  of 
a  certainty  gather,  that  his  reading  was  of  wide  extent,  and  that 
with  a  student's  industry  he  made  it  subservient  to  the  illustra- 
tion and  faithfulness  of  poetic  thought. 

Trusting,  as  we  may  do  in  a  very  high  degree,  to  Douce's 
Illustrations  of  Shakspeare  and  of  Ancient  Manners  (2  vols., 
London,  1807),  or  to  the  still  more  elaborate  and  erudite  work 
of  Dr.  Nathan  Drake,  Shakspeare  and  his  Times  (2  vols.,  4to, 
London,  1817),  we  need  not  hesitate  at  resting  on  Mr.  Capel 
Lofft's  conclusion,  that  Shakespeare  possessed  "a  very  reason- 
able portion  of  Latin  ;  he  was  not  wholly  ignorant  of  Greek  ;  he 

*  We  select  an  instance  common  to  both  Holbein  and  Shakespeare  ;  it  is  pointed 
out  by  Woltmann,  in  his  Holbein  and  his  Time,  vol.  ii.  p.  23,  where,  speaking  of  the 
Holbein  painting,  The  Death  of  Lucretia,  the  writer  says, —  "The  costume  is  here,  as 
ever,  that  of  Holbein's  own  time.  The  painter  reminds  us  of  Shakespeare,  who  also 
conceived  the  heroes  of  classic  antiquity  in  the  costume  of  his  own  days  ;  in  the  Julius 
Ccesar  the  troops  are  drawn  up  by  beat  of  drum,  and  Coriolanus  comes  forth  like  an 
English  lord :  but  the  historical  signification  of  the  subject  nevertheless  does  in  a 
degree  become  understood,  which  the  later  poetry,  with  every  instrument  of 
archaeological  learning,  troubles  itself  in  vain  to  reach. " 

It  may  be  noted  that  in  other  instances  both  Wornum,  the  English  biographer  of 
Holbein,  and  Woltmann,  the  German,  compare  Holbein  and  Shakespeare,  or, 
rather,  illustrate  the  one  by  the  other. 

f  As  when  Cooper,  at  the  tomb  of  Shakespeare,  describes  it, — 

"  The  scene  then  chang'd  from  this  romantic  land, 

To  a  bleak  waste  by  bound'ry  unconfin'd, 
Where  three  swart  sisters  of  the  weird  band 
Were  mutt'ring  curses  to  the  troublous  wind." 


CHAP.  III.]  AND    OPPORTUNITIES.  107 

had  a  knowledge  of  French,  so  as  to  read  it  with  ease  ;  and  I 
believe  not  less  of  the  Italian.  He  was  habitually  conversant 
with  the  chronicles  of  his  country.  He  lived  with  wise  and 
highly  cultivated  men,  with  Jonson,  Essex,  and  Southampton, 
in  familiar  friendship."  (See  Drake,  vol.  i.  pp.  32,  33,  note,) 
And  again,  "  It  is  not  easy,  with  due  attention  to  his  poems,  to 
doubt  of  his  having  acquired,  when  a  boy,  no  ordinary  facility 
in  the  classic  language  of  Rome  ;  though  his  knowledge  of  it 
might  be  small,  comparatively,  to  the  knowledge  of  that  great 
and  indefatigable  scholar,  Ben  Jonson." 

Dr.  Drake  and  Mr.  Capel  Lofft  differ  in  opinion,  though  not 
very  widely,  as  to  the  extent  of  Shakespeare's  knowledge  of 
Italian  literature.  The  latter  declares,  "  My  impression  is,  that 
Shakespeare  was  not  unacquainted  with  the  most  popular 
authors  in  Italian  prose,  and  that  his  ear  had  listened  to  the 
enchanting  tones  of  Petrarca,  and  some  others  of  their  great 
poets."  And  the  former  affirms,  that  "  From  the  evidence  which 
his  genius  and  his  works  afford,  his  acquaintance  with  the 
French  and  Italian  languages  was  not  merely  confined  to  the 
picking  up  a  familiar  phrase  or  two  from  the  conversation  or 
writings  of  others,  but  that  he  had  actually  commenced,  and  at 
an  early  period  too,  the  study  of  these  languages,  though,  from 
his  situation,  and  the  circumstances  of  his  life,  he  had  neither 
the  means,  nor  the  opportunity,  of  cultivating  them  to  any 
considerable  extent."  (See  Drake,  vol.  i.  pp.  54,  note,  and 

57,  58.) 

Now  the  Emblem-writers  of  the  sixteenth  century,  and 
previously,  made  use  chiefly  of  the  Latin,  Italian,  and  French 
languages.  Of  the  Emblem-books  in  Spanish,  German,  Flemish, 
Dutch,  and  English,  only  the  last  would  be  available  for  Shake- 
speare's benefit,  except  for  the  suggestions  which  the  engravings 
and  woodcuts  might  supply.  It  is  then-  well  for  us  to  under- 
stand that  his  attainments  with  respect  to  language  were 


io8  SHAKESPEARES    ATTAINMENTS       [CHAP, 


sufficient  to  enable  him  to  study  this  branch  of  literature,  which 
before  his  day,  and  in  his  day,  was  so  widely  spread  through  all 
the  more  civilized  countries  of  Europe.  He  possessed  the 
mental  apparatus  which  gave  him  power,  should  inclination  or 
fortune  lead  him  there,  to  cultivate  the  viridiaria,  the  pleasant 
blooming  gardens  of  emblem,  device,  and  symbol. 

Even  if  he  had  not  been  able  to  read  the  Emblem  writers  in 
their  original  languages,  undoubtedly  he  \vould  meet  with  their 
works  in  the  society  in  which  he  moved  and  among  the  learned 
of  his  native  land.  As  we  have  seen,  he  was  in  familiar  friend- 
ship with  the  Earl  of  Essex.  To  that  nobleman  Willet,  in  1598, 
had  dedicated  his  Sacred  Emblems.  Of  men  of  Devereux's 
stamp,  several  had  become  acquainted  with  the  Emblem  Litera- 
ture. To  his  rival,  Robert  Dudley,  the  Earl  of  Leicester, 
Whitney  devoted  the  Choice  of  Emblemes,  1586;  in  1580,  Beza 
had  honoured  the  young  James  of  Scotland  with  the  foremost 
place  in  his  Portraits  of  Illustrious  Men,  to  which  a  set  of 
Emblems  were  appended  ;  Sir  Philip  Sidney,  during  his  journey 
on  the  continent,  1571 — 15/5,  became  acquainted  with  the 
works  of  the  Italian  emblematist,  Ruscelli  ;  and  as  early  as 
1549,  it  was  "  to  the  very  illustrious  Prince  James  earl  of  Arran 
in  Scotland,"  that  "  Barptolemy  Aneau  "  commended  his  French 
version  of  Alciat's  classic  stanzas. 

And  were  it  not  a  fact,  as  we  can  show  it  to  be,  that  Shake- 
speare quotes  the  very  mottoes  and  describes  the  very  drawings 
which  the  Emblem-books  contain,  we  might,  from  his  highly 
cultivated  taste  in  other  respects,  not  unreasonably  conclude 
that  he  must  both  have  known  them  and  have  used  them.  His 
information  and  exquisite  judgment  extended  to  works  of 
highest  art, — to  sculpture,  painting,  and  music,  as  well  as  to 
literature.  There  is,  perhaps,  no  description  of  statuary  extant 
so  admirable  for  its  truth  and  beauty  as  the  lines  quoted  by 


CHAP.  III.]  AND    OPPORTUNITIES.  109 

Drake,  p.  617,  from  the   Winters  Tale*  "where  Paulina  unveils 
to  Leontes  the  supposed  statue  of  Hermione." 

"Paulina.  As  she  lived  peerless, 

So  her  dead  likeness,  I  do  well  believe, 
Excels  whatever  yet  you  look'd  upon, 
Or  hand  of  man  hath  done  ;  therefore  I  keep  it 
Lonely,  apart.     But  here  it  is  :  prepare 
To  see  the  life  as  lively  mock'd  as  ever 
Still  sleep  mock'd  death  :  behold,  and  say  'tis  well. 

[PAULINA  draws  a  curtain,  and  discovers  HEKMIONK 
standing-  like  a  statue. 

1  like  your  silence,  it  the  more  shows  off 

Your  wonder  :  but  yet  speak  ;  first,  you,  my  liege. 

Comes  it  not  something  near  1 

Leontes.  Her  natural  posture  ! 

Chide  me,  dear  stone,  that  I  may  say  indeed 

Thou  art  Hermione 

O,  thus  she  stood,f 

Even  with  such  life  of  majesty,  warm  life, 
As  now  it  coldly  stands,  when  first  I  woo'd  her  ! 
I  am  ashamed  :  does  not  the  stone  rebuke  me 
For  being  more  stone  than  it  ? 

Paid.  No  longer  shall  you  gaze  on't,  lest  your  fancy 
May  think  anon  it  moves. 

Leon.  Let  be,  let  be. 

Would  I  were  dead,  but  that,  methinks,  already — 
What  was  he  that  did  make  it  ?     See,  my  lord, 
Would  you  not  deem  it  breathed  ?  and  that  those  veins 
Did  verily  bear  blood  ? 

Paul.  Masterly  done  : 

The  very  life  seems  warm  upon  her  lip. 

Leon.  The  fixure  of  her  eye  has  motion  in't, 

As  we  are  mock'd  with  art 

Still,  methinks 


*  Act  v.  sc.  3,  lines  14 — 84,  Cambridge  edition,  vol.  iii.  pp.  422-25. 
t  The  ivory  statue  changed  into  a  woman,  which  Ovid  describes,  Metamorphose* •, 
bk.  x.  fab.  viii.  12— 16,  is  a  description  of  kindred  excellence  to  that  of  Shakespeare  : 

"  Saepe  manus  operi  tentant^s  admovet,  an  sit 
Corpus,  an  illud  ebur  :  nee  ebur  tamen  esse  fatetur. 
Oscula  dat,  reddique  putat ;  loquiturque,  tenetq.ie  ; 
Et  credit  tactis  digitos  insidere  membris  : 
Et  metuit,  presses  veniat  ne  livor  in  artus." 


no  SHAKESPEARE'S    ATTAINMENTS       [CHAP.  III. 

There  is  an  air  comes  from  her :  what  fine  chisel 
Could  ever  yet  cut  breath  ?     Let  no  man  mock  me, 
For  I  will  kiss  her. 

Paul.  Good  my  lord,  forbear  : 

The  ruddiness  upon  her  lip  is  wet ; 
You'll  mar  it  if  you  kiss  it ;  stain  your  own 
With  oily  painting.     Shall  I  draw  the  curtain  ? 

Leon.  No,  not  these  twenty  years. 

Perdita.  So  long  could  I 

Stand  by,  a  looker  on." 

This  exquisite  piece  of  statuary  is  ascribed  by  Shakespeare 
( Winter's  Tale,  act  v.  sc.  2,  1.  8,  vol.  iii.  p.  420)  to  "  that  rare 
Italian  master  Julio  Romano,  who,  had  he  himself  eternity,  and 
could  put  breath  into  his  work,  would  beguile  Nature  of  her 
custom,  so  perfectly  is  he  her  ape :  he  so  near  to  Hermione 
hath  done  Hermione,  that  they  say  one  would  speak  to  her,  and 
stand  in  hope  of  answer." 

According  to  Kugler's  "  GESCHICHTE  DER  MALEREI," — 
History  of  Painting  (Berlin,  1847,  v°l-  i-  P-  641), — Julio  Romano 
was  one  of  the  most  renowned  of  Raphael's  scholars,  born  about 
1492,  and  dying  in  1546.  "Giulio  war  ein  Kiinstler  von 
riistigem,  lebendig,  bewegtem,  keckem  Geiste,  begabt  mit  einer 
Leichtigkeit  der  Hand,  welche  den  kiihnen  und  rastlosen 
Bildern  seiner  Phantasie  uberall  Leben  und  Dasein  zu  geben 
wusste."* 

His  earlier  works  are  to  be  found  at  Rome,  Genoa,  and  Dres- 
den. Soon  after  Raphael's  death  he  was  employed  in  Mantua 
both  as  an  architect  and  a  painter ;  and  here  exist  some  of  his 
choice  productions,  as  the  Hunting  by  Diana,  the  frescoes  of  the 
Trojan  War,  the  histories  of  Psyche,  and  other  Love-tales  of  the 
gods.  Pictures  by  him  are  scattered  over  Europe, — some  at 
Venice,  some  in  the  sacristy  of  St.  Peter's,  and  in  other  places  in 

*  "Julio  was  an  artist  of  vigorous,  lively,  active,  fearless  spirit,  gifted  with  a  light- 
ness of  hand  which  knew  how  to  impart  life  and  being  to  the  bold  and  restless  images 
of  his  fancy."  The  same  volume,  pp.  641-5,  continues  the  account  of  Romano. 


CHAP.  III.]  AND    OPPORTUNITIES.  in 

Rome  ;  some  in  the  Louvre,  and  some  in  the  different  collections 
of  England,*  as  the  Jupiter  among  the  Nymphs  and  Corybantes. 
Whether  any  of  his  works  were  in  England  during  the  reign  of 
Elizabeth,  we  cannot  affirm  positively  ;  but  as  there  were  "  sixteen 
by  Julio  Romano  "  in  the  fine  collection  of  paintings  at  Whitehall, 
made,  or,  rather,  increased  by  Charles  I.,  of  which  Henry  VIII. 
had  formed  the  nucleus,  it  is  very  probable  there  were  in  England 
some  by  that  master  so  early  as  the  writing  of  the  Winter's  Tale, 
or  even  before,  in  which,  as  we  have  seen,  he  is  expressly  named. 
It  may  therefore  be  reasonably  conjectured  that  in  the  statue  of 
Hermione  Shakespeare  has  accurately  described  some  figure 
which  he  had  seen  in  one  of  Julio  Romano's  paintings. 

The  same  rare  appreciation  of  the  beautiful  appears  in  the 
Cymbdine,  act  ii.  sc.  4,  lines  68 — 74,  81 — 85,  87 — 91,  vol.  ix. 
pp.  207,  208,  where  the  poet  describes  the  adornments  of  Imogen's 

chamber : — 

"It  was  hanged 

With  tapestry  of  silk  and  silver  ;  the  story 
Proud  Cleopatra,  when  she  met  her  Roman, 
And  Cydnus  swell'd  above  the  banks,  or  for 
The  press  of  boats,  or  pride  :  a  piece  of  work 
So  bravely  done,  so  rich,  that  it  did  strive 
In  workmanship  and  value 

And  the  chimney-piece 
Chaste  Dian,  bathing  :  f  never  saw  I  figures 
So  likely  to  report  themselves  :  the  cutter 
'  Was  as  another  nature,  dumb  ;  outwent  her, 
Motion  and  breath  left  out 

The  roof  o'  the  chamber 

With  golden  cherubins  is  fretted  :  her  andirons — 
I  had  forgot  them — were  two  winking  Cupids 
Of  silver,  each  on  one  foot  standing,  nicely 
Depending  on  their  brands." 

*  "  An  important  one,"  says  Kugler,  "  at  Lord  Northwick's,  in  London  " 
t  Two  of  Titian's  large  paintings,  now  in  the  Bridgewater  Gallery,   represent 
"  Diana  and  her  Nymphs  bathing."     (See  Kugler,  vol.  ii.  p.  44.) 


ii2  SHAKESPEARE  S    ATTAINMENTS       [CHAP.  III. 

So,  in  the  Taming  of  the  Shrew,  act  ii.  sc.  I,  lines  338—348, 
vol.  iii.  p.  45,  Gremio  enumerates  the  furniture  of  his  house  in 
Padua  : — 

"  First,  as  you  know,  my  house  within  the  city 

Is  richly  furnished  with  plate  and  gold  ; 

Basins  and  ewers  to  lave  her  dainty  hands  ; 

My  hangings  all  of  Tyrian  tapestry  ; 

In  ivory  coffers  I  have  stuff'd  my  crowns  ; 

In  cypress  chests  my  arras  counterpoints, 

Costly  apparel,  tents,  and  canopies, 

Fine  linen,  Turkey  cushions  boss'd  with  pearl, 

Valance  of  Venice  gold  in  needlework, 

Pewter  and  brass  and  all  things  that  belong 

To  house  or  housekeeping." 

And  Hamlet,  when  he  contrasts  his  father  and  his  uncle, 
act  iii.  sc.  4,  lines  55 — 62,  vol.  viii.  p.  in,  what  a  force  of  artistic 
skill  does  he  not  display !  It  is  indeed  a  poet's  description,  but 
it  has  all  the  power  and  reality  of  a  most  finished  picture.  The 
very  form  and  features  are  presented,  as  if  some  limner,  a 
perfect  master  of  his  pencil,  had  portrayed  and  coloured  them: — 

"  See  what  a  grace  was  seated  on  this  brow ; 
Hyperion's  curls,  the  front  of  Jove  himself, 
An  eye  like  Mars,  to  threaten  and  command  ; 
A  station  like  the  herald  Mercury 
New  lighted  on  a  heaven-kissing  hill ; 
A  combination  and  a  form  indeed, 
Where  every  god  did  seem  to  set  his  seal 
To  give  the  world  assurance  of  a  man." 

In  the  Merchant  of  Venice,  too,  act  iii.  sc.  2,  lines  115 — 128, 
vol.  ii.  p.  328,  when  Bassanio  opens  the  leaden  casket  and  dis- 
covers the  portrait  of  Portia,  who  but  one  endowed  with  a 
painter's  inspiration  could  speak  of  it  as  Shakespeare  does  !— 

"  Fair  Portia's  counterfeit !    What  demi-god 
Hath  come  so  near  creation  ?     Move  these  eyes  ? 
Or  whether,  riding  on  the  balls  of  mine, 


CHAP.  III.]  AND    OPPORTUNITIES.  „- 

Seem  they  in  motion  ?     Here  are  sever'd  lips, 

Parted  with  sugar  breath  :  so  sweet  a  bar 

Should  sunder  such  sweet  friends.     Here  in  her  hairs 

The  painter  plays  the  spider,  and  hath  woven 

A  golden  mesh  to  entrap  the  hearts  of  men, 

Faster  than  gnats  in  cobwebs  ;  but  her  eyes, 

How  could  he  see  to  do  them  ?     Having  made  one, 
Methinks  it  should  have  power  to  steal  both  his 
And  leave  itself  unfurnish'd." 

Such  power  of  estimating  artistic  skill  authorises  the  suppo- 
sition that  Shakespeare  himself  had  made  the  painter's  art  a 
subject  of  more  than  accidental  study  ;  else  whence  such  expres- 
sions as  those  which  in  the  Antony,  act  ii.  sc.  2,  lines  201 — 209, 
vol.  ix.  p.  38,  are  applied  to  Cleopatra  ? — 

"  For  her  own  person, 
It  beggar'd  all  description  :  she  did  lie 
In  her  pavilion,  cloth-of-gold  or  tissue, 
O'er-picturing  that  Venus  where  we  see 
The  fancy  outwork  nature  :  on  each  side  her 
Stood  pretty  dimpled  boys,  like  smiling  Cupids, 
With  divers-colour'd  fans,  whose  wind  did  seem 
To  glow  the  delicate  cheeks  which  they  did  cool, 
And  what  they  undid  did." 

Or,  even  when  sportively,  in  Twelfth  Night,  act  i.  sc.  5,  lines 
214 — 230,  vol  iii.  p.  240,  Olivia  replies  to  Viola's  request, 
"  Good  Madam,  let  me  see  your  face," — is  it  not  quite  in  an 
artist's  or  an  amateur's  style  that  the  answer  is  given  ?  "  We 
will  draw  the  curtain  and  show  you  the  picture.  Look  you,  sir, 
such  a  one  I  was  this  present  :  is't  not  well  done  ?  "  \Unveiling. 

"  Viol.  Excellently  done,  if  God  did  all. 
Oli.  'Tis  in  grain,  sir  ;  'twill  endure  wind  and  weather. 
Via.  'Tis  beauty  truly  blent,  whose  red  and  white 
Nature's  own  sweet  and  cunning  hand  laid  on  : 
Lady,  you  are  the  cruel'st  she  alive, 
If  you  will  lead  these  graces  to  the  grave 
And  leave  the  world  no  copy. 

Q 


ii4  SHAKESPEARE'S    ATTAINMENTS       [CHAP.  III. 

OIL  O,  sir,  I  will  not  be  so  hard-hearted  ;  I  will  give  out  divers  schedules 
of  my  beauty  :  it  shall  be  inventoried,  and  every  particle  and  utensil  labelled 
to  my  will :  as,  item,  two  lips,  indifferent  red  ;  item,  two  grey  eyes,  with  lids 
to  them  ;  item,  one  neck,  one  chin,  and  so  forth." 

But  from  certain  lines  in  the  Taming  of  the  Shrew  (Induc- 
tion, sc.  2,  lines  47 — 58),  it  is  evident  that  Shakespeare  had  seen 
either  some  of  the  mythological  pictures  by  Titian,  or  engravings 
from  them,  or  from  similar  subjects.  Born  in  14/7,  and  dying  in 
1576,  in  his  ninety-ninth  year,  the  great  Italian  artist  was  con- 
temporary with  a  long  series  of  illustrious  men,  and  his  fame 
and  works  had  shone  far  beyond  their  native  sky.  Our  distant 
and  then  but  partially  civilised  England  awoke  to  a  perception  of 
their  beauties,  and  though  few — if  any — of  Titian's  paintings  so 
early  found  a  domicile  in  this  country,  yet  pictures  were,  we  are 
assured,*  "  a  frequent  decoration  in  the  rooms  of  the  wealthy." 
Shakespeare  even  represents  the  Countess  of  Auvergne, 
I  Henry  VL,  act  ii.  sc.  3,  lines  36,  37,  vol.  v.  p.  33,  as  saying  to 
Talbot,— 

"  Long  time  thy  shadow  hath  been  thrall  to  me, 
For  in  my  gallery  thy  picture  hangs." 

The  formation  of  a  royal  gallery,  or  collection  of  paintings, 
had  engaged  the  care  of  Henry  VIII. ;  and  the  British  nobility 
at  the  time  of  his  daughter  Elizabeth's  reign,  "  deeply  read  in 
classical  learning,  familiar  with  the  literature  of  Italy,  and 
polished  by  foreign  travel,"  "were  well  qualified  to  appreciate 
and  cultivate  the  true  principles  of  taste." 

Titian,  as  is  well  known,  "  displayed  a  singular  mastery  in 
the  representation  of  nude  womanly  forms,  and  in  this  the 
witchery  of  his  colouring  is  manifested  with  fullest  power."! 
Many  instances  of  this  are  to  be  found  in  his  works.  Two  are 

*  See  Drake's  Shakspeare  and  his  Times,  vol.  ii.  p.  119. 

t  See  D.  Franz  Kugler's  Handbuch  der  Geschichte  der  Malerei,  vol.  ii.  pp.  44-6. 


CHAP.  III.]  AND     OPPORTUNITIES.  n5 

presented  by  the  renowned  Venus-figures  at  Florence,  and  by 
the  beautiful  Danae  at  Naples.  The  Cambridge  gallery  con- 
tains the  Venus  in  whose  form  the  Princess  Eboli  is  said  to 
have  been  portrayed,  playing  the  lute,  and  having  Philip  of 
Spain  seated  at  her  side.  In  the  Bridgewater  gallery  are  two 
representations  of  Diana  in  the  bath, — the  one  having  the  story 
of  Actaeon,  and  the  other  discovering  the  guilt  of  Calisto  ;  and 
in  the  National  Gallery  are  a  Bacchus  and  Ariadne,  and  also  a 
good  copy,  from  the  original  at  Madrid,  of  Venus  striving  to 
hold  back  Adonis  from  the  chase.  To  these  we  may  add  the 
Arming  of  Cupid,  in  the  Borghese  palace  at  Rome,  in  which  he 
quietly  permits  Venus  to  bind  his  eyes,  while  another  Cupid 
whispering  leans  on  her  shoulder,  and  two  Graces  bring  forward 
quivers  and  bows. 

It  is  to  such  a  School  of  Painting,  or  to  such  a  master  of 
his  art,  that  Shakespeare  alludes,  when,  in  the  Induction  scene 
to  the  Taming  of  the  Shrew,  Christopher  Sly  is  served  and 
waited  on  as  a  lord  :  — 

"  Sec.  Serv.  Dost  thou  love  pictures  ?  we  will  fetch  thee  straight 
Adonis  painted  by  a  running  brook, 
And  Cytherea  all  in  sedges  hid, 
Which  seem  to  move  and  wanton  with  her  breath, 
Even  as  the  waving  sedges  play  with  wind. 

Lord.  We'll  show  thee  lo  as  she  was  a  maid, 
And  how  she  was  beguiled  and  surprised, 
As  lively  painted  as  the  deed  was  done. 

Third  Serv.  Or  Daphne  roaming  through  a  thorny  wood, 
Scratching  her  legs  that  one  shall  swear  she  bleeds, 
And  at  that  sight  shall  sad  Apollo  weep, 
So  workmanly  the  blood  and  tears  are  drawn." 

Among  Shakespeare's  gifts  was  also  the  power  to  appreciate 
the  charms  of  melody  and  song.  Their  influence  he  felt,  and 
their  effect  he  most  eloquently  describes.  He  speaks  of  them 
with  a  sweetness,  a  gentleness,  and  force  which  must  have  had 


n6  SHAKESPEARE'S    ATTAINMENTS       [CHAP.  III. 

counterparts  in  his  own  nature.  As  in  the  Midsummer  Nig/it's 
Dream,  act  ii.  sc.  i,  line  148,  vol.  ii.  p.  215,  when  Oberon  bids 
Puck  to  come  to  her, — 

"  Thou  rememberest 
Since  once  I  sat  upon  a  promontory, 
And  heard  a  mermaid,  on  a  dolphin's  back, 
Uftering  such  dulcet  and  harmonious  breath, 
That  the  rude  sea  grew  civil  at  her  song, 
And  certain  stars  shot  madly  from  their  spheres 
To  hear  the  sea-maid's  music." 

And    again,    in   the  Merchant  of  Venice,  act  v.  sc.    I,    lines 
2  and  54,  vol.  ii.  p.  360,  how  exquisite  the  description  ! — 

"  When  the  sweet  wind  did  gently  kiss  the  trees, 
And  they  did  make  no  noise." 

Lorenzo's  discourse  to  Jessica  is  such  as  only  a  passion-warmed 
genius  could  conceive  and  utter  : — 

"  How  sweet  the  moonlight  sleeps  upon  this  bank  ! 
Here  will  we  sit,  and  let  the  sounds  of  music 
Creep  in  our  ears  :  soft  stillness  and  the  night 
Become  the  touches  of  sweet  harmony. 
Sit,  Jessica.     Look  how  the  floor  of  heaven 
Is  thick  inlaid  with  patines  of  bright  gold  : 
There's  not  the  smallest  orb  which  thou  behold'st 
But  in  his  motion  like  an  angel  sings, 
Still  quiring  to  the  young-eyed  cherubins  ; 
Such  harmony  is  in  immortal  souls." 

And  Ferdinand,  in  the  Tempest,  act  i.  sc.  2,  1.  387,  vol.  i.  p.  20, 
after  listening  to  Ariel's  song,  "  Come  unto  these  yellow  sands," 
thus  testifies  to  its  power  : — 

"  Where  should  this  music  be  ?  i'  th'  air,  or  th'  earth  ? 
It  sounds  no  more  :  and  sure  it  waits  upon 
Some  god  o'  th'  island.     Sitting  on  a  bank, 
Weeping  again  the  king  my  father's  wreck, 
This  music  crept  by  me  upon  the  waters 


CHAP.  III.]  AND     OPPORTUNITIES.  1 1 7 

Allaying  both  their  fury  and  my  passion 
With  its  sweet  air  :  thence  have  I  follow'd  it, 
Or  it  hath  drawn  me  rather." 

Thus,  from  his  sufficient  command  over  the  requisite  lan- 
guages, from  his  diligent  reading  in  the  literature  of  his  country, 
translated  as  well  as  original,  from  his  opportunities  of  frequent 
converse  with  the  cultivated  minds  of  his  age,  and  still  more 
from  what  we  have  shown  him  to v  have  possessed, — accurate 
taste  and  both  an  intelligent  and  a  warm  appreciation  of  the 
principles  and  beauties  of  Imitative  Art, — we  conclude  that 
Shakespeare  found  it  a  study  congenial  to  his  spirit  and  powers, 
to  examine  and  apply,  what  was  both  popular  and  learned  in 
its  day, — the  illustrations,  by  the  graver's  art  and  the  poet's  pen, 
of  the  proverbial  wisdom  which  constitutes  almost  the  essence  of 
the  Emblematical  writers  of  the  sixteenth  century.  To  him,  as 
to  others,  their  works  would  be  sources  of  interest  and  amuse- 
ment ;  and  even  in  hours  of  idleness  many  a  sentiment  would 
be  gathered  up  to  be  afterwards  almost  unconsciously  assimi- 
lated for  the  mind's  nurture  and  growth. 

(When  we  maintain  that  Shakespeare  not  unfrequently  made 
use  of  the  Emblem  writers,  we  do  not  mean  to  imply  that  he 
was  generally  a  direct  copyist  from  them.  This  is  seldom  the 
case.  But  a  word,  a  phrase,  or  an  allusion,  sufficiently  demon- 
strates whence  particular  thoughts  have  been  derived,  and  how 
they  have  been  coloured  and  clothed.  They  have  been 
gathered  as  flowers  in  a  country-walk  are  gathered — one  from 
this  hedge-side,  another  from  that,  and  a  third  from  among  the 
standing  corn,  and  others  from  the  margin  of  some  murmuring 
stream  ;  but  all  have  their  natural  beauty  heightened  by  the 
skill  with  which  they  are  blended  so  as  to  impart  gracefulness 
to  the  whole.  Flora's  gems  they  may  be,  but  the  enwoven 
coronal  borrows  its  chief  charm  from  the  artistic  power  and 
fitness  with  which  its  parts  are  arranged  :  break  the  thread,  or 


n8 


SHAKESPEARE'S    ATTAINMENTS.       [CHAP.  Ill 


cut  the  string  with  which  Genius  has  bound  them  together,  and 
they  fall  into  inextricable  confusion — a  mass  of  disorder — no 
longer  a  pride  and  a  joy  :  but  let  them  remain,  as  a  most 
excellent  skill  has  placed  them,  and  for  ever  could  we  gaze  on 
their  loveliness.  A  matchless  beauty  has  been  achieved,  and 
all  the  more  do  we  value  it,  because  upon  it  there  is  also  stamped 
eternal  youth. 


Symbola,  1679. 


CHAP.  IV.]  EMBLEM-BOOKS.  119 


CHAPTER    IV. 

THE  KNOWLEDGE  OF  EMBLEM-BOOKS  IN  BRITAIN,  AND 
GENERAL  INDICATIONS  THAT  SHAKESPEARE  WAS 
ACQUAINTED  WITH  THEM. 

ONUMENTS,  or  memorial  stones,  with 
emblematical  figures  and  characters 
carved  upon  them,  are  of  ancient  date 
in  Britain  as  elsewhere — probably  ante- 
cedent even  to  Christianity  itself.  Manu- 
scripts, too,  ornamented  with  many  a 
symbolical  device,  carry  us  back  several 
hundred  years.  These  we  may  dismiss 

from  consideration  at  the  present  moment,  and  simply  take  up 
printed  books  devoted  chiefly  or  entirely  to  Emblems. 

I. — Of  printed  Emblem-books  in  the  earlier  time  down  to 
1598,  when  Willet's  Century  of  Sacred  Emblems  appeared,  though 
there  were  several  in  the  English  language,  there  were  only  few 
of  pure  English  origin.  Watson  and  Barclay,  in  1509,  gave 
English  versions  of  Sebastian  Brant's  Fool-freighted  Ship.  Not 
later  than  1536,  nor  earlier  than  1517,  The  Dialogue  of  Creatures 
moralised  was  translated  "  out  of  latyn  in  to  our  English  tonge." 
In  1549,  at  Lyons,  The  Images  of  the  Old  Testament,  &c.,  were 
"  set  forthe  in  Ynglishe  and  Frenche  ;  "  and  in  1553,  from  the 
same  city,  Peter  Derendel  gave  in  English  metre  The  true  and 
lyvely  Jdstoryke  Portreatnres  of  the  wall  Bible. 

The   Workcs  of  Sir  Thomas  More  Knyght,  sometyme  Lorde 


120  EMBLEM-BOOKS  [CHAP.  IV. 

Chauncellour  of  England,  were  published  in  small  folio,  London, 
1557,  and  in  them  at  the  beginning  (signature  C  \yv  —  ciiij)  are 
inserted  what  the  author  names  "  nyne  pageauntes,"  which,  as 
they  existed  in  his  father's  house  about  A.D.  1496,  were  certainly 
Emblems.  To  this  list  Sir  Thomas  North,  in  London,  1570, 
added  The  Morall  Philosophic  of  Doniy  "  out  of  Italian  ;  " 
Daniell,  in  1585,  The  worthy  Tract  of  Paulns  Jovius,  which 
Whitney,  in  1586,  followed  up  by  A  CJwice  of  Embleines, 
"Englished  and  moralized;"  and  Paradin's  Heroicall  Devises 
were  "Translated  out  of  Latin  into  English,"  London,  1591. 

To  vindicate  something  of  an  English  origin  for  a  few 
emblems  at  least,  reference  may  again  be  made  to  the  fact  that 
about  the  year  1495  or  6,  "  Mayster  Thomas  More  in  his  youth 
deuysed  in  hys  fathers  house  in  London,  a  goodly  hangyng  of 
fyne  paynted  clothe,  with  nyne  pageauntes,*  and  verses  ouer 
of  euery  of  those  pageauntes  :  which  verses  expressed  and 
declared,  what  the  ymages  in  those  pageauntes  represented  : 
and  also  in  those  pageauntes  were  paynted,  the  thynges  that  the 
verses  ouer  them  dyd  (in  effecte)  declare."  In  1592,  Wyrley 
published  at  London  The  true  use  of  Armories,  &c.  ;  soon  after 
appeared  Emblems  by  Thomas  Combe,  which,  however,  are  no 
longer  known  to  be  in  existence;  and  then,  in  1598,  Andrew 
Willet's  Sacrorvm  Emblematvm  Centvria  vna,  &c.,  —  "A  Century 
of  Sacred  Emblems."  Guitlim,  in  1611,  supplied  A  Display  of 
Heraldry;  and  Peacham,  in  1612,  A  Garden  of  Heroical 
Devices.  There  were,  too,  in  MSS.,  several  Emblem-works  in 
English,  some  of  which  have  since  been  edited  and  made 
known. 

Yet  we  must  not  suppose  that  the  knowledge  of  Emblem- 
books  in  Britain  depended  on  those  only  of  which  an  English 


The  subjects  of  the  "nyne  pageauntes."  and  of  their  verses,  are  — 

,  Uemts  anti  £upgtfe,  &ge,  ®e%  jFanu,  ftptt,  GEftamtee,"  in  English  ;  and 
Port  "in  Latin. 


CHAP.  IV.]  IN   BRITAIN,     1500—1600.  121 

version  had  been  achieved.  To  men  of  culture,  the  whole  series 
was  open  in  almost  its  entire  extent.  James  Hamilton,  Earl  of 
Arran,  had  resided  in  France,  and  in  1555,  being  high  in  the 
favour  of  Henry  II.,  "was  made  captain  of  his  Scotch  life- 
guards." A  few  years  before,  namely,  in  1549,  as  we  have 
mentioned,  p.  108,  Aneau's  French  translation  of  Alciat's 
Emblems  had  been  dedicated  to  him  as,  "filz  de  tres  noble 
Prince  Jacque  Due  de  Chastel  le  herault,  Prince  Gouverneur  du 
Royaume  d'Escoce." 

Among  the  rare  books  in  the  British  Museum  is  Marquale's 
Italian  Version  of  Alciat's  Emblems,  printed  at  Lyons  in  1549; 
a  copy  of  it,  a  very  lovely  book,  in  the  original  binding,  bears  on 
the  back  the  royal  crown,  and  at  the  foot  the  letters  "  E.  VI.  R.," 
— Edwardus  Sextus  Rex ;  and,  as  he  died  in  1553,  we  thus  have 
evidence  at  how  early  a  date  the  work  was  known  in  England. 
To  the  young  king  it  would  doubtless  be  a  book  "for  delight 
and  for  ornament." 

Of  Holbein's  Imagines  Mortis,  Lyons,  1545,  by  George 
^Emylius,  Luther's  brother-in-law,  a  copy  now  in  the  British 
Museum  "  was  presented  to  Prince  Edward  by  Dr.  William  Bill, 
accompanied  with  a  Latin  dedication,  dated  from  Cambridge, 
I9th  July,  1546,  wherein  he  recommends  the  prince's  attention 
to  the  figures  in  the  book,  in  order  to  remind  him  that  all  must 
die  to  obtain  immortality ;  and  enlarges  on  the  necessity  of 
living  well.  He  concludes  with  a  wish  that  the  Lord  will  long 
and  happily  preserve  his  life,  ano^  that  he  may  finally  reign  to 
all  eternity  with  his  most  Christian  father.  Bill  was  appointed 
one  of  the  king's  chaplains  in  ordinary,  1551,  and  was  made  the 
first  Dean  of  Westminster  in  the  reign  of  Elizabeth." — Douce's 
Holbein,  Bohn's  ed.,  1858,  pp.  93,  94. 

In  1548,  Mary  of  Scotland  was  sent  into  France  for  her  educa- 
tion (Rapin,  ed.  1724,  vol.  vi.  p.  30),  and  here  imbibed- the  taste 
for,  or  rather  knowledge  of,  Emblems,  which  afterwards  she  put 


122  EMBLEM-BOOKS  [CHAP.  IV. 

into  practice.  To  her  son,  in  his  fourteenth  year,  emblems  were 
introduced  by  no  less  an  authority  than  that  of  Theodore  Beza. 
A  copy  indeed  of  the  works  of  Alciatus  was  bound  for  him 
when  he  became  King  of  England, — it  is  a  folio  edition,  in  six 
volumes  or  parts,  and  is  still  preserved  in  the  British  Museum  ; 
the  royal  arms  are  on  the  cover,  front  and  back,  and  fleurs-de-lis 
in  the  corners.  It  was  printed  at  Lyons  in  1560,  and  possibly 
the  Emblems  in  vol.  vi.,  leaves  334 — 354,  with  their  very  beau- 
tiful devices,  may  have  been  the  companions  of  his  boyhood 
and  early  years.  By  the  Emblem-works  of  Beza  and  of 
Alciat  probably  was  laid  the  foundation  of  the  king's  love 
for  allegorical  representations,  which,  under  the  name  of 
masques,  were  provided  by  Jonson  for  the  Court's  amusement. 
The  king's  weakness  in  this  respect  is  wittily  set  forth  in  the 
French  epigram  soon  after  his  death  (Rapin's  History -,  4to, 
vol.  vii.  p.  259) : — 

"  Tandis  qtf  Elisabeth  fut  Roi, 
UAngloisfut  d'Espagne  Veffroij 
Maintenant,  devise  &>  caquette^ 
Rigipar  la  Reine  Jaquette?  * 

To  English  noblemen,  in  1608,  Otho  van  Veen,  from 
Antwerp,  commends  his  Amorum  Emblemata, — "Emblems  of 
the  Loves," — with  124  excellent  devices.  Thus  the  dedication 
runs  :  "  To  the  moste  honorable  and  woerthie  brothers,  William 
Earle  of  Pembroke,  and  Philip  Earle  of  Mountgomerie,  patrons 
of  learning  and  cheualrie."  In  England,  therefore,  as  in  Scot- 
land, there  were  eminent  lovers  of  the  Emblem  literature. 

But  an  acquaintance  with  that  literature  may  be  regarded  as 
more  spread  abroad  and  increased  when  Emblem-books  became 


Thus  to  be  rendered — 

While  Elizabeth,  as  king,  did  reign, 
England  the  terror  was  of  Spain ; 
Now,  chitter-chatter  and  Emblemes 
Rule,  through  our  queen,  the  little  James. 


CHAP.  IV.]  IN   BRITAIN,     1500—1600.  123 

the  sources  of  ornamentation  for  articles  of  household  furniture, 
and  for  the  embellishment  of  country  mansions.  A  remarkable 
instance  is  supplied  from  The  History  of  Scotland,  edition 
London,  1655,  "By  William  Drummond  of  Hauthornden."  It 
is  in  a  letter  "  To  his  worthy  Friend  Master  Benjamin  Johnson," 
dated  July  I,  1619,  respecting  some  needle- work  by  Mary 
Queen  of  Scots,  and  shows  how  intimately  she  was  acquainted 
with  several  of  the  Emblem-books  of  her  day,  or  had  herself 
attained  the  art 'of  making  devices.  The  whole  letter,  except  a 
few  lines  at  the  beginning,  is  most  interesting  to  the  admirers  of 
Emblems.  Drummond  thus  writes  : — 

"  I  have  been  curious  to  find  out  for  you  the  Impresaes  and  Emblemes  on 
a  Bed  of  State  *  wrought  and  embroidered  all  with  gold  and  silk  by  the  late 
Queen  Mary,  mother  to  our  sacred  Soveraign,  which  will  embellish  greatly 
some  pages  of  your  Book,  and  is  worthy  your  remembrance  ;  the  first  is  the 
Loadstone  turning  towards  the  pole,  the  word  her  Majesties  name  turned  on 
an  Anagram,  Maria  Stuart,  sa  virtu,  w?  attire,  which  is  not  much  inferiour  to 
Veritas  armata.  This  hath  reference  to  a  Crucifix,  before  which  with  all 
her  Royall  Ornaments  she  is  humbled  on  her  knees  most  liuely,  with  the 
word,  undique;  an  Impresa  of  Mary  of  Lorrain,  her  Mother,  a  Phcenix  in 
flames,  the  word,f  en  ma  fin  git  won  commencement.  The  Impressa  of  an 
Apple-Tree  growing  in  a  Thorn,  the  word,  Per  vincula  crescit.  The  Impressa 
of  Henry  the  second,  the  French  King,  a  Cressant,  the  word,  Donee  totum 
impleat  orbem.  The  Impressa  of  King  Francis  the  first,  a  Salamander 
crowned  in  the  midst  of  Flames,  the  word,  Nutrisco  et  extinguo.  The 
Impressa  of  Godfrey  of  Bullogne,  an  arrow  passing  through  three  birds,  the 
word,  Dederit  ne  viam  Casusve Deusve.  That  of  Mercurius  charming  Argos, 
with  his  hundred  eyes,  expressed  by  his  Caduceus,  two  Flutes,  and  a  Peacock, 
the  word,  Eloquium  tot  lumina  clausit.  Two  Women  upon  the  Wheels  of 

*  Through  Mr.  Jones,  of  the  Chetham  Library,  Manchester,  I  applied  to 
D.  Laing,  Esq.,  of  the  Signet  Library,  Edinburgh,  to  inquire  if  the  bed  of  state  is 
known  still  to  exist.  The  reply,  Dec.  3ist,  1867,  is — 

"  In  regard  to  Queen  Mary's  bed  at  Holyrood,  there  is  one  which  is  shown  to  visitors,  but  I  am 
quite  satisfied  that  it  does  not  correspond  with  Drummond's  description,  as  '  wrought  in  silk  and  gold.' 
There  are  some  hangings  of  old  tapestry,  but  in  a  very  bad  state  of  preservation.  Yesterday  after- 
noon I  went  down  to  take  another  look  at  it,  but  found,  as  it  was  getting  dark,  some  of  the  rooms 
locked  up,  and  no  person  present.  Should,  however,  I  find  anything  further  on  the  subject,  I  will  let 
you  know,  but  I  do  not  expect  it." 

t  This  mode  of  naming  the  motto  appears  taken  from  Shakespeare's  Pericles,  as — 
"  A  black  ^Ethiop,  reaching  at  the  sun  ; 
The  word,  Lux  tua  vita  mihi" 


i24  EMBLEM-BOOKS  [CHAP.  IV. 

Fortune,  the  one  holding  a  Lance,  the  other  a  Cornucopia;  which  Impressa 
seemeth  to  glaunce  at  Queen  Elizabeth  and  herself,  the  word,  Fortunes 
Comites.  The  Impressa  of  the  Cardinal  of  Lorrain  her  Uncle,  a  Pyramid 
overgrown  with  ivy,  the  vulgar  word,  Te  stante  virebo;  a  Ship  with  her  Mast 
broken  and  fallen  in  the  Sea,  the  word,  Nnsquam  nisi  rectum.  This  is  for 
herself  and  her  Son,  a  Big  Lyon  and  a  young  Whelp  beside  her,  the  word, 
Unum  quidem,  sed  Leonem.  An  embleme  of  a  Lyon  taken  in  a  Net,  and 
Hares  wantonly  passing  over  him,  the  word,  Et  Upores  devicto  insultant 
Leone.  Cammomel  in  a  garden,  the  word,  Fructus  calcata  dat  amplos.  A 
Palm  Tree,  the  word,  Ponderibus  virtus  innata  resistit.  A  Bird  in  a  Cage, 
and  a  Hawk  flying  above,  with  the  word,  //  mal  me  preme  et  me  spaventa  a 
Peggio.  A  triangle  with  a  Sun  in  the  middle  of  a  Circle,  the  word,  Trino 
non  convenitorbis.  A  Porcupine  amongst  Sea  Rocks,  the  word,  Ne  volutetur. 
The  Impressa  of  king  Henry  the  eight,  a  Portculles,  the  word,  altera  securitas. 
The  Impressa  of  the  Duke  of  Savoy,  the  annunciation  of  the  Virgin  Mary, 
the  word,  Fortitudo  ejus  Rhodum  tenuit.  He  had  kept  the  Isle  of  Rhodes. 
Flourishes  of  Armes,  as  Helms,  Launces,  Corslets,  Pikes,  Muskets,  Canons, 
the  word,  Dabit  Deus  his  quoque  finem.  A  Tree  planted  in  a  Church-yard 
environed  with  dead  men's  bones,  the  word,  Pietas  revocabit  ab  orco. 
Ecclipses  of  the  Sun  and  the  Moon,  the  word,  Ipsa  sibi  lumen  quod  invidet 
aufert,  glauncing,  as  may  appear,  at  Queen  Elizabeth.  Brennus  Ballances,  a 
sword  cast  in  to  weigh  Gold,  the  word,  Quid  nisi  Victis  dolor  !  A  Vine  tree 
watred  with  Wine,  which  instead  to  make  it  spring  and  grow,  maketh  it  fade, 
the  word,  Mea  sic  mihi  prosunt.  A  wheel  rolled  from  a  Mountain  in  the  Sea, 
the  word,  Piena  di  dolor  voda  de  Sperenza.  Which  appeareth  to  be  her  own, 
and  it  should  be,  Precipitio  senza  speranza.  A  heap  of  Wings  and  Feathers 
dispersed,  the  word,  Magnatum  Vicinitas.  A  Trophic  upon  a  Tree,  with 
Mytres,  Crowns,  Hats,  Masks,  Swords,  Books,  and  a  Woman  with  a  Vail 
about  her  eyes  or  muffled,  pointing  to  some  about  her,  with  this  word,  Ut  casus 
dederit.  Three  crowns,  two  opposite  and  another  above  in  the  Sea,  the  word, 
Aliamque  moratur.  The  Sun  in  an  Ecclipse,  the  word,  Media  occidet  Die" 
"  I  omit  the  Arms  of  Scotland,  England,  and  France  severally  by  them- 
selves, and  all  quartered  in  many  places  of  this  Bed.  The  workmanship  is 
curiously  done,  and  above  all  value,  and  truely  it  may  be  of  this  Piece  said, 
Materiam  super abat  opus"* 

*  In  two  other  Letters  Drummond  makes  mention  of  Devices  or  Emblems. 
Writing  from  Paris,  p.  249,  he  describes  "the  Fair  of  St.  Germain:"  — 

"  The  diverse  Merchandize  and  Waresof  the  many  nations  at  that  Mart ; "  and  adds,  "  Scarce  could 
the  wandering  thought  light  upon  any  Storie,  Fable,  Gayetie,  which  was  not  here  represented  to  view." 
A  letter  to  the  Earl  of  Perth,  p,  256,  tells  of  various  Emblems :  — 

"  MY  NOBLE  LORD, — After  a  long  inquiry  about  the  Arms  of  your  Lordships  antient  House,  and 
the  turning  of  sundry  Books  of  hnfresaes  and  Herauldry,  I  found  your  V  N  D  E  S.  famous  and  very 
honourable." 

"  In  our  neighbour  Countrey  of  England  they  are  born,  but  inversed  upside  down  and  diversified. 


CHAP.  IV.]  IN  BRITAIN,     1500—1600.  125 

It  would  be  tedious  to  verify,  as  might  be  done  in  nearly 
every  instance,  the  original  authors  of  these  twenty-nine  Im- 
prests and  Emblems.  Several  of  them  are  in  our  own  Whitney, 
several  in  Paradin's  Devises  heroiques,  and  several  in  Dialogve 
des  Devises  d'armes  et  d'amovrs  dv  S.  Pavlo  Jovio,  &c.,  4to,  A 
Lyon,  1561. 

From  the  last  named  author  we  select  as  specimens  two  of 
the  Emblems  with  which  Queen  Mary  embellished  the  bed  for 
her  son  ; — the  first  is  "  the  Impressa  of  King  Francis  the  First," 
who,  as  the  Dialogue,  p.  24,  affirms,  "  changea  la  fierte  des 
deuises  de  guerre  en  la  douceur  &  ioyeuseti  amoureuse" — "  And 
to  signify  that  he  was  glowing  with  the  passions  of  love, — 
and  so  pleasing  were  they  to  him,  that  he  had  the  boldness  to 
say  that  he  found  nourishment  in  them ; — for  this  reason  he 
chose  the  Salamander,  which  dwelling  in  the  flames  is  not  con- 
sumed." (See  woodcut  next  page.)  The  second,  p.  25,  is  "the 
Impressa  of  Henry  the  second,  the  French  King"  the  son  and 
successor  of  Francis  in  1547.  (See  woodcut,  p.  127.) 

He  had  adopted  the  motto  and  device  when  he  was  Dauphin, 
and  continued  to  bear  them  on  his  succession  to  the  throne ; — 
in  the  one  case  to  signify  that  he  could  not  show  his  entire 
worth  until  he  arrived  at  the  heritage  of  the  kingdom ;  and  in 
the  other  that  he  must  recover  for  his  kingdom  what  had  been 
lost  to  it,  and  so  complete  its  whole  orb. 

It  may  appear  almost  impossible,  even  on  a  "  Bed  of  State," 
to  work  twenty-nine  Emblems  and  the  arms  of  Scotland, 
England,  and  France,  "  severally  by  themselves  and  all  quartered 
in  many  places  of  the  bed," — but  a  bed,  probably  of  equal 

Torquato  Tasso  in  his  Rinaldo  maketh  mention  of  a  Knight  who  had  a  Rock  placed  in  the  Waves, 
with  the  Worde  Rompe  ch'il  percote.  And  others  hath  the  Seas  waves  with  a  Syren  rising  out  of 
them,  the  word  Bella  Maria,  which  is  the  name  of  some  Courtezan.  Antonio  Perenotto,  Cardinal 
Gravella,  had  for  an  Impresa  the  sea,  a  Ship  on  it,  the  word  Dtirate  out  of  the  first  of  the  ^Eneades, 
Durate  et  vosmet  rebus  servate  secundis.  Tomaso  de  Marini,  Duca  di  terra  nova,  had  for  his 
Impresa  the  Waves  with  a  sun  over  them,  the  word,  Nunquam  siccabitur  cestu.  The  Prince  of 
Orange  used  for  his  Impresa  the  Waves  with  an  Halcyon  in  the  midst  of  them,  the  word,  Mediis 
tranquillus  in  widis,  which  is  rather  an  Embleme  than  Impresa,  because  the  figure  is  in  the  word." 


126 


EMBLEM-BOOKS 


[CHAP  IV. 


antiquity,  was  a  few  years  since,  if  not  now,  existing  at  Hinckley 
in  Leicestershire,  on  which  the  same  number  "of  emblematical 
devices,  and  Latin  mottoes  in  capital  letters  conspicuously 
introduced,"  had  found  space  and  to  spare.  All  these  emblems 
are,  I  believe,  taken  from  books  of  Shakespeare's  time,  or  before 


Paolo  Jovio,  1561. 

him  ;  as,  "  An  ostrich  with  a  horseshoe  in  the  beak,"  the  word, 
Spiritus  durissima  coquit ;  "a  cross-bow  at  full  stretch,"  the 
word,  Ingenio  superat  vires.  "  A  hand  playing  with  a  serpent," 
the  word,  Quis  contra  nos  ?  "  The  tree  of  life  springing  from  the 
cross  on  an  altar,"*  the  word,  Sola  vivit  in  illo.  (See  Gentle- 
man's Magazine,  vol.  Ixxxi.  pt.  2,  p.  416,  Nov.  1811.) 

Of  the  use  of  Emblematical  devices  in  the  ornamenting  of 
houses,   it  will  be  sufficient  to  give  the   instance   recorded  in 


See  device  at  a  later  part  of  our  volume. 


CHAP.  IV.] 


IN  BRITAIN,     1500—1600. 


127 


"  The  History  and  Antiquities  of  Hawsted  and  Hardwick,  in  the 
county  of  Suffolk,  by  the  Rev.  Sir  John  Cullum,  Bart :"  the  2nd 
edition,  royal  4to,  London,  1813,  pp.  159 — 165.  This  History 
makes  it  evident  that  in  the  reign  of  James  I.,  if  not  earlier, 
Emblems  were  so  known  and  admired  as  to  have  been  freely 


Paolo  Jovio,  1561. 


employed  in  adorning  a  closet  for  the  last  Lady  Drury.  "  They 
mark  the  taste  of  an  age  that  delighted  in  quaint  wit,  and 
laboured  conceits  of  a  thousand  kinds,"  says  Sir  John  ;  never- 
theless, there  were  forty-one  of  them  in  "  the  painted  closet "  at 
Hawsted,  and  which,  at  the  time  of  his  writing,  were  put  up  in  a 
small  apartment  at  Hardwick.  To  all  of  them,  as  for  King 
James's  bed,  and  for  the  "very  antient  oak  wooden  bedstead, 
much  gilt  and  ornamented,"  at  Hinckley,  there  were  a  Latin 
motto  and  a  device.  Some  of  them  we  now  present  to  the 


i28  EMBLEM-BOOKS  [CHAP.  IV. 

reader,  adding  occasionally  to  our  author's  account  a  further 
notice  of  the  sources  whence  they  were  taken  : 

Emblem  I.  Ut  parta  labuntttr, — "As  procured  they  are 
slipping  away."  "  A  monkey,  sitting  in  a  window  and  scattering 
money  into  the  streets,  is  among  the  emblems  of  Gabriel  Simeon :" 
it  is  also  in  our  own  English  Whitney,  p.  169,  with  the  word, 
Mate  parta  mate  delabuntur, — "Badly  gotten,  badly  scattered." 

Emblem  5.  Quo  tendis  ?—"  Whither  art  thou  going?"  "A 
human  tongue  with  bats'  wings,  and  a  scaly  contorted  tail, 
mounting  into  the  air,"  "  is  among  the  Heroical  Devises  of  Para- 
din  :  "  leaf  65  of  edition  Anvers,  1562. 

Emblem  8.  Jam  satis, — "  Already  enough."  "  Some  trees, 
leafless,  and  torn  up  by  the  roots  ;  with  a  confused  landscape. 
Above,  the  sun,  and  a  rainbow ; "  a  note  adds,  "  the  most  faire 
and  bountiful  queen  of  France  Katherine  used  the  sign  of  the 
rainbow  for  her  armes,  which  is  an  infallible  sign  of  peaceable 
calmeness  and  tranquillitie." — Paradin.  Paradin's  words,  ed. 
1562,  leaf  38,  are  "Madame  Catherine,  treschretienne  Reine  de 
France,  a  pour  Deuise  V Arc  celeste,  ou  Arc  en  del :  qui  est  le  vrai 
signe  de  clere  serenite"  &  tranquilitti de  Paix" 

Emblem  20.  Dum  transis,  time, — "  While  thou  art  crossing, 
fear."  "  A  pilgrim  traversing  the  earth:  with  a  staff,  and  a  light 
coloured  hat,  with  a  cockle  shell  in  it."  In  Hamlet,  act  iv.  sc.  5, 
1.  23,  vol.  viii.  p.  129, — 

"  How  should  I  your  true  love  know 

From  another  one  ? 
By  his  cockle  hat  and  staff, 
And  his  sandal  shoon." 

"  Or,"  remarks  Sir  John  Cullum,  "  as  he  is  described  in  Greene's 
Never  too  Late,  1610  ; "— 

"  With  Hat  of  straw,  like  to  a  swain, 
Shelter  for  the  sun  and  rain, 
With  scallop-shell  before." 


CHAP.  IV.]  IN   BRITAIN,     1500 — 1600.  129 

Emblem  24.  Fronte  nulla  fides, — "  No  trustworthiness  on  the 
brow."  The  motto  with  a  different  device  occurs  in  Whitney's 
Emblems,  p.  100,  and  was  adopted  by  him  from  the  Emblems 
of  John  Sambucus;  edition  Antwerp,  1564,  p.  177.  The  device, 
however,  in  "  the  painted  closet "  was  "  a  man  taking  the  dimen- 
sions of  his  own  forehead  with  a  pair  of  compasses  ; "  "a  contra- 
diction," inaptly  remarks  Sir  J.  Cullum,  "  to  a  fancy  of  Aristotle's 
that  the  shape  and  several  other  circumstances,  relative  to  a 
man's  forehead,  are  expressive  of  his  temper  and  inclination. 

POVR     CONGNOISTRE 

V  N     H  O  M  M  E. 


Symeoni,  1561. 

Upon  this  supposition  Symeon,*  before  mentioned,  has  invented 
an  Emblem,  representing  a  human  head  and  a  hand  issuing  out 
of  a  cloud,  and  pointing  to  it,  with  this  motto,  Frons  hominem 
prcefert, — "  The  forehead  shows  the  man." 

*  See  Symeon's  Denises  Heroiques  6°  Morales,  edition,  4to,  Lyons,  1561,  p.  246, 
where  the  motto  and  device  occur,  followed  by  the  explanation,  "  Ceux  qui  ont  escrit 
de  la  Physiognomic,  &  mesme  Aristote,  disent  parmy  d'autres  choses  que  le  front  de 
Vhomme  est  celuy,  par  lequeW  on  petit  facihment  cognoistre  la  qualite  de  ses  nmurs, 
&  la  complexion  de  sa  nature, "  &c. 

s 


i3o  EMBLEM-BOOKS  [CHAP.  IV. 

Emblem  33.  Speravi  et peril,— "  I  hoped  and  perished  ;  "—the 
device,  "  A  bird  thrusting  its  head  into  an  oyster  partly  open." 
A  very  similar  sentiment  is  rather  differently  expressed  by 
Whitney,  p.  128,  by  Freitag,  p.  169,  and  by  Alciat,  edition 
Paris,  1602,  emb.  94,  p.  437,  from  whom  it  was  borrowed. 
Here  the  device  is  a  mouse  invading  the  domicile  of  an  oyster, 
the  motto,  Captivus  ob  gulam, — "  A  prisoner  through  gluttony  ; " 
and  the  poor  little  mouse— 

"  That  longe  did  feede  on  daintie  crommes, 
And  safelie  search'd  the  cupborde  and  the  shelfe  : 
At  lengthe  for  chaunge,  vnto  an  Oyster  commes, 
Where  of  his  deathe,  he  guiltie  was  him  selfe  : 
The  Oyster  gap'd,  the  Mouse  put  in  his  head, 
Where  he  was  catch'd,  and  crush'd  till  he  was  dead." 

Now,  since  so  many  Emblems  from  various  authors  were 
gathered  to  adorn  a  royal  bed,*  "a  very  antient  oak  wooden 
bed,"  and  "  a  lady's  closet,"  in  widely  distant  parts  of  Britain, 
the  supposition  is  most  reasonable  that  the  knowledge  of  them 
pervaded  the  cultivated  and  literary  society  of  England  and 
Scotland  ;  and  that  Shakespeare,  as  a  member  of  such  society, 
would  also  be  acquainted  with  them.  The  facts  themselves  are 
testimonies  of  a  generally  diffused  judgment  and  taste,  by  which 
Emblematic  devices  for  ornaments  would  be  understood  and 
appreciated. 

And  the  facts  we  have  mentioned  are  not  solitary.  About 
the  period  in  question,  in  various  mansions  of  the  two  kingdoms, 


*  It  may  be  named  as  a  curious  fact  that  a  copy  of  Alciat's  Emblemes  en  Latin  et 
en  Francois  Vers  pour  Vers,  i6mo,  Paris,  1561,  contains  the  autograph  of  the  Pro- 
locutor against  Mary  Queen  of  Scots,  W.  PYKERYNGE,  1561,  which  would  be  about 
five  years  before  Mary's  son  was  born,  for  whom  she  wrought  a  bed  of  state.  The 
edition  of  Paradin,  a  copy  of  which  bears  Geffrey  Whitney's  autograph,  was  printed 
at  Antwerp  in  1562  ;  and  one  at  least  of  his  Emblems  to  the  motto,  Video  et  taceo, 
was  written  as  early  as  1568. 


CHAP.  IV.]  IN  BRITAIN,     1500—1600.  131 

Device  and  Emblem  were  employed  for  their  adorning.  In 
1619,  close  upon  Shakespeare's  time,  and  most  likely  influenced 
by  his  writings,  there  was  set  up  in  the  Ancient  Hall  of  the 
Leycesters  of  Lower  Tabley,  Cheshire,  a  richly  carved  and  very 
curious  chimney-piece,  which  may  be  briefly  described  as  emble- 
matizing country  pursuits  in  connection  with  those  of  heraldry, 
literature,  and  the  drama.  In  high  relief,  on  one  of  the  upright 
slabs,  is  a  Lucrece,  as  the  poet  represents  the  deed,  line  1723,— 

"  Even  here  she  sheathed  in  her  harmless  breast 
A  harmful  knife,  that  thence  her  soul  unsheathed." 

On  the  other  slab  is  a  Cleopatra,  with  the  deadly  creature  in 
her  hand,  though  not  at  the  very  moment  when  she  addressed 
the  asp  ; — act.  v.  sc.  2,  1.  305,  vol.  ix.  p.  151,— 

"  Peace,  peace  ! 

Dost  thou  not  see  my  baby  at  my  breast, 
That  sucks  the  nurse  asleep  ?  " 

The  cross  slab  represents  the  hunting  of  stag  and  hare,  which 
with  the  hounds  have  wonderfully  human  faces.  Here  might 
the  words  of  Titus  Andronicus,  act.  ir.  sc.  2,  1.  I,  vol.  vii.  p.  456, 
be  applied, — 

"  The  hunt  is  up,  the  moon  is  bright  and  gray, 
The  fields  are  fragrant,  and  the  woods  are  green  ; 
Uncouple  here,  and  let  us  make  a  bay, 
And  wake  the  emperor  and  his  lovely  bride, 
And  rouse  the  prince,  and  ring  a  hunter's  peal 
That  all  the  court  may  echo  with  the  noise." 

The  heraldic  insignia  of  the  Leycesters  surmount  the  whole, 
but  just  below  them,  in  a  large  medallion,  is  an  undeniable 
Emblem,  similar  to  one  which  in  1624  appeared  in  Hermann 
Hugo's  Pia  Desideria,  bk.  i.  emb.  xv.  p.  117;  Defecit  in  dolor e 
vita  mea  et  anni  mei  in  gemitibus  (Psal.  xxx.  or  rather  Psal. 
xxxi.  10), — "My  life  is  spent  with  grief,  and  my  years  with 
sighing."  Appended  to  Hugo's  device  are  seventy-six  lines  of 


i32  EMBLEM-BOOKS  [CHAP.  IV. 

Latin  elegiac  verses,  and  five  pages  of  illustrative  quotations 
from  the  Fathers ;  but  the  character  of  the  Emblem  will  be  seen 
from  the  device  presented. 

Drayton  in  his  Barons'  Wars,  bk.  vi.,  published  in  1598, 
shows  how  the  knowledge  of  our  subject  had  spread  and  was 
spreading ;  as  when  he  says  of  certain  ornaments, — 

"  About  the  border,  in  a  curious  fret, 
Emblems,  impressas,  hieroglyphics  set." 

There  is,  however,  no  occasion  to  pursue  any  further  this 
branch  of  our  theme,  except  it  may  be  by  a  short  continuation 
or  extension  of  our  Period  of  time,  to  show  how  Milton's  greater 
Epic  most  curiously  corresponds  with  the  title-page  of  a  Dutch 
Emblem-book,  which  appeared  in  1642,  several  years  before 
Paradise  Lost  was  written.  (See  Plate  X.)  The  book  is,  Jan 
Vander  Veens  Zinne-beelden,  oft  Adams  Appel, — "John  Vander 
Veen's  Emblems,  or  Adam's  Apple," — presenting  some  Dutch 
doggerel  lines,  of  which  this  English  doggerel  contains  the 
meaning, —  . 

"  When  wounded  Adam  lay  from  the  sin  and  the  fall, 
Out  of  the  accursed  wound  flowed  corruption  and  gall ; 
Hence  is  all  wickedness  and  evil  bred, 
As  here  in  print  ye  see  the  Devil  fashioned," 

And  again,— 

"  Out  of  Adam's  Apple  springs 
Misery,  Sin,  and  deadly  things." 

Singularly  like  to  Milton's  Introduction  (bk.  i.  lines  I — 4),— 

"  Of  Man's  first  disobedience,  and  the  fruit 
Of  that  forbidden  tree,  whose  mortal  taste 
Brought  death  into  the  world,  and  all  our  woe, 
With  loss  of  Eden." 

With  equal  singularity  appears  in  Boissard's  Theatrum  Vitcz 
HiLmance, — "Theatre  of  Human  Life,"— edition  Metz,  1596,  p.  19, 


ZINNE-BEELDEN. 


OFT 


ADAMS    APPEL. 

Verciert  met  fee?  aerdige  Conft-Plaeten 


Syneoude  cnde  nieawe  ongemecne  Bf  uydt-lofs  code  Zege-zangen. 


r   ctit*^r    v-jjrn  Zfc-,-    —     tvWnafc 


t'AMSTFTin  AU' 
TJy  K  v  K  ;•.  n  A  R  o  C  L o  f  p  £  N  a  u  A  u  >:  ,  Jiocck  vcrcot'-pcr  0^1  \  Wutcr  i •',;  * i 


// 


dialog. 

CAP.     III. 

LAPSVS    SATAN 


Calefies  Gemos  perfefia  luce  creates 

Peccatum  honendo pcrdidit  exitio. 
Sub  Phlegethonte  Satotn  Cocyti  mergiturundis : 


//vm 


fa. 


//t 


CHAP.  IV.]  IN  BRITAIN,     1500—1600. 


J33 


the  coincidence  with  Milton's  Fall  of  the  rebel  Angels.  We  have 
here  pictured  and  described  the  Fall  of  Satan  (see  Plate  XI.) 
almost  as  in  modern  days  Turner  depicted  it,  and  as  Milton  has 
narrated  the  terrible  overthrow  (Paradise  Lost,  bk.  vi.),  when  they 
were  pursued 

"  With  terrors,  and  with  furies,  to  the  bounds 
And  crystal  wall  of  heaven  ;  which,  opening  wide, 
Roll'd  inward,  and  a  spacious  gap  disclosed 
Into  the  wasteful  deep  :  the  monstrous  sight 
Struck  them  with  horror  backward,  but  far  worse 
Urged  them  behind  :  headlong  themselves  they  threw 

Down  from  the  verge  of  heaven 

Nine  days  they  fell :  confounded  Chaos  roar'd, 
And  felt  tenfold  confusion  in  their  fall 
Through  his  wild  anarchy."* 

That  same  Theatre  of  Human  Life,  p.  I  (see  Plate  XIV.), 
also  contains  a  most  apt  picture  of  Shakespeare's  lines,  As  You 
Like  It,  act.  ii.  sc.  7,  1.  139,  vol.  ii.  p.  409, — 

"  All  the  world's  a  stage, 
And  all  the  men  and  women  merely  players  : 
They  have  their  exits  and  their  entrances  ; 
And  one  man  in  his  time  plays  many  parts, 
His  acts  being  seven  ages." 

The  same  notion  is  repeated  in  the  Merchant  of  Venice,  act.  i. 
sc.  i,  1.  77,  vol.  ii.  p.  281,  when  Antonio  says, — 

"  I  hold  the  world  but  as  the  world,  Gratiano  ; 
A  stage  where  every  man  must  play  a  part, 
And  mine  a  sad  one." 

In  England,  as  elsewhere,  emblematical  carvings  and  writings 
preceded  books  of  Emblems,  that  is,  books  in  which  the  art  of 

*  In  some  of  the  more  elaborate  of  Plantin's  devices,  the  action  of  "  the  omnific 
word"  seems  pictured,  though  in  very  humble  degree, — 

"  In  his  hand 

He  took  the  golden  compasses,  prepared 
In  God's  eternal  store,  to  circumscribe 
This  universe,  and  all  created  things  : 
One  foot  he  centred,  and  the  other  turn'd 
Round  through  the  vast  profundity  obscure." — Par,  Lost,  bk.  vii. 


I34  EMBLEM-BOOKS  [CHAP.  IV. 

the  engraver  and  the  genius  of  the  poet  were  both  employed  to 
illustrate  one  and  the  same  motto,  sentiment,  or  proverbial 
saying.  Not  to  repeat  what  may  be  found  in  Chaucer  and 
others,  Spenser's  Visions  of  Bellay*  alluded  to  in  the  fac-simile 
reprint  of  Whitney,  pp.  xvi  &  xvii,  needed  only  the  designer  and 
engraver  to  make  them  as  perfectly  Emblem-books  as  were  the 
publications  of  Brant,  Alciatus  and  Perriere.  Those  visions 
portray  in  words  what  an  artist  might  express  by  a  picture. 
For  example,  in  Moxon's  edition,  1845,  p.  438,  iv., — 

"  I  saw  raisde  vp  on  pillers  of  luorie, 
Wereof  the  bases  were  of  richest  golde, 
The  chapters  Alabaster,  Christall  frises, 
The  double  front  of  a  triumphall  arke. 
On  eche  side  portraide  was  a  Victorie, 
With  golden  wings,  in  habite  of  a  nymph 
And  set  on  hie  vpon  triumphing  chaire  ; 
The  auncient  glorie  of  the  Romane  lordes. 
The  worke  did  shew  it  selfe  not  wrought  by  man, 
But  rather  made  by  his  owne  skilfull  hands 
That  forgeth  thunder  dartes  for  loue  his  sire. 
Let  me  no  more  see  faire  thing  vnder  heauen, 
Sith  I  haue  scene  so  faire  a  thing  as  this, 
With  sodaine  falling  broken  all  to  dust." 

Now  what  artist's  skill  would  not  suffice  from  this  description 
to  delineate  "  the  pillers  of  luorie,"  "  the  chapters  of  Alabaster," 
"  a  Victorie  with  golden  wings/'  and  "  the  triumphing  chaire,  the 
auncient  glorie  of  the  Romane  lordes  ; "  and  to  make  the  whole 
a  lively  and  most  cunning  Emblem  ? 

In  his  Shepheards  Calender,  indeed,  to  each  of  the  months 
Spenser  appends  what  he  names  an  "  Emblem  ;  "  it  is  a  motto, 
or  device,  from  Greek,  Latin,  Italian,  French,  or  English,  expres- 
sive of  the  supposed  leading  idea  of  each  Eclogue,  and  forming 

*  Derived  from  Joachim  du  Bellay  (who  died  in  1560  at  the  age  of  thirty-seven), 
the  excellence  of  whose  poetry  entitled  him  to  be  named  the  Ovid  of  France.  There 
is  good  evidence  to  show  that  Du  Bellay  was  well  acquainted  with  the  Emblematists, 
who  in  his  time  were  rising  into  fame. 


CHAP.  IV.] 


IN    BRITAIN,     1500—1600. 


T35 


a  moral  to  it.  The  folio  edition  of  Spenser's  works,  issued  in 
1616,  gives  woodcuts  for  each  month,  and  so  approaches  very 
closely  to  the  Emblematists  of  a  former  century.  In  the  month 
"  FEBRVARIE,"  there  is  introduced  a  veritable  word-picture  of 
"  the  Oake  and  the  Brier,"  and  also  a  pictorial  illustration,  with 
the  sign  of  the  Fishes  in  the  clouds,  to  indicate  the  season  of 

FEBRVARIE. 


Spenser,  1616. 


the  year.      The  oak  is  described   as   "broughten  to  miserie:" 

1-  213,— 

For  nought  mought  they  quitten  him  from  decay, 
For  fiercely  the  goodman  at  him  did  laye. 
The  blocke  oft  groned  under  the  blow, 
And  sighed  to  see  his  neere  overthrow. 
In  fine,  the  steele  had  pierced  his  pith, 
Tho  downe  to  the  earth  hee  fell  forthwith." 

The  Brier,  "  puffed  up  with  pryde,"  has  his  turn  of  adversity : 

1.  234,— 

"  That  nowe  upright  hee  can  stand  no  more  ; 
And,  being  downe,  is  trod  in  the  durt 
Of  cattel,  and  brouzed,  and  sorely  hurt." 


i36 


EMBLEM-BOOKS 


[CHAP.    IV. 


The  whole  Eclogue,  or  Fable,  is  rounded  off  by  the  curious 
Italian  proverbs,  to  which  Spenser  gives  the  name  of  Em- 
blems,— 

THENOTS  EMBLEME. 
"  Iddio,  perche  6  vecchio, 
Fa  suoi  al  suo  essempio." 

CUDDIES  EMBLEME. 
"  Nivmo  vecchio 
Spaventa  Iddio." 

i.  e.,  "  God,  although  he  is  very  aged,  makes  his  friends  copies  of 
himself,"  makes  them  aged  too  ;  but  the  biting  satire  is  added, 
"  No  old  man  is  ever  terrified  by  Jove." 

I  VN  E. 


Spenser,  1616. 


The  Emblem  for  June  represents  a  scene  which  the  poet  does 
not  describe ;  it  is  the  field  of  the  haymakers,  with  the  zodiacal 
sign  of  the  Crab,  and  appropriate  to  the  characters  of  Hobbinoll 
and  Colin  Clout,  —  but  it  certainly  does  not  translate  into 
pictures  what  the  poet  had  delineated  in  words  of  great  beauty  : 


CHAP.  IV.]  KNOWN    TO    SHAKESPEARE.  137 

"  Lo  !  Colin,  here  the  place  whose  plesaunt  syte 
From  other  shades  hath  weaned  my  wandring  mindc, 
Tell  mee,  what  wants  mee  here  to  worke  delyte  ? 
The  simple  ayre,  the  gentle  warbling  winde, 
So  calme,  so  coole,  as  nowhere  else  I  finde  ; 
The  grassie  grounde  with  daintie  daysies  dight, 
The  bramble  bush,  where  byrdes  of  every  kinde 
To  the  waters  fall  their  tunes  attemper  right." 

No  more  needs  be  said  respecting  the  knowledge  of  Emblem- 
books  in  Britain,  unless  it  be  to  give  the  remarks  of  Tod,  the 
learned  editor  of  Spenser's  works,  edition  1845,  P-  x-  "  The 
Visions  are  little  things,  done  probably  when  Spenser  was 
young,  according  to  the  taste  of  the  times  for  Emblems.*  The 
Theatre  of  Wordlings,  I  must  add,  evidently  presents  a  series 
of  Emblems." 

II.  We  will  now  state  some  of  the  general  indications  that 
Shakespeare  was  acquainted  with  Emblem-books,  or  at  least  had 
imbibed  "  the  taste  of  the  times." 

Here  and  there  in  Shakespeare's  works,  even  from  the  way 
in  which  sayings  and  mottoes,  in  Spanish,  as  well  as  in  French 
and  Latin,  are  employed,  we  have  indications  that  he  had  seen 
and,  it  may  be,  had  studied  some  of  the  Emblem-writers  of  his 
day,  and  participated  of  their  spirit.  Thus  FalstafFs  friend,  the 
ancient  Pistol,  2  Henry  IV.  act.  ii.  sc.  4,  1.  165,  vol.  iv.  p.  405, 
quotes  the  doggerel  line,  as  given  in  the  note,  Si  fortuna  me 
tormenta,  il  sperare  me  content  a,  —  "  If  fortune  torments  me,  hope 
contents  me,"  —  which  doubtless  was  the  motto  on  his  sword, 


*  Dibdin,  in  his  Bibliomania,  p.  331,  adduces  an  instance;  he  says,  "In  the 
PRAYER-BOOK  which  goes  by  the  name  of  QUEEN  ELIZABETH'S,  there  is  a  portrait 
of  her  Majesty  kneeling,  upon  a  superb  cushion,  with  elevated  hands,  in  prayer. 
This  book  was  first  printed  in  1575,  and  is  decorated  with  woodcut  borders  of 
considerable  spirit  and  beauty,  representing,  among  other  things,  some  of  the 
subjects  of  Holbein's  Dance  of  Death  " 


'38 


EMBLEM-BOOKS 


[CHAP.  IV. 


which   he   immediately   lays    down.       As   quoted,   the   line   is 
Spanish  ;    a    slight    alteration    would    make    it    Italian  ;    but 
Douce's   conjecture   appears  well   founded,  that  as   Pistol  was 
preparing  to  lay  aside  his  sword,  he  read 
off  the  motto  which  was  upon  it.      Such 
mottoes  were  common  as  inscriptions  upon 
swords ;  and  Douce,  vol.  i.  pp.  452,  3,  gives 
the  drawing  of  one  with  the  French  line, 
"  Si  fortune  me  tourmente,  L'esperance  me 
contente." 

He  gives  it,  too,  as  a  fact,  that  "  Hani- 
ball  Gonsaga  being  in  the  low-countries 
overthrowne  from  his  horse  by  an  English 
captaine  and  commanded  to  yeeld  him- 
selfe  prisoner,  kist  his  sword,  and  gave  it  to 
the  Englishman,  saying,  '  Si  fortuna  me 
tormenta,  il  speranza  me  contenta!"  Allow 
that  Shakespeare  served  in  the  Nether- 
lands, and  we  may  readily  suppose  that 
he  had  heard  the  motto  from  the  very 
Englishman  to  whom  Gonsaga  had  sur- 
rendered. 

The  Clown  in  Twelfth  Night,  act.  i. 
sc.  5,  1.  50,  vol.  iii.  p.  234,  replies  to  the 
Lady  Olivia  ordering  him  as  a  fool  to  be 
taken  away, — "  Misprision  in  the  highest 
degree  !  Lady,  cucullus  non  facit  monachum, 
[^it  is  not  the  hood  that  makes  the  monk,] 
— that's  as  much  to  say  as  I  wear  not 
motley  in  my  brain."  The  saying  is  one 
which  might  appropriately  adorn  any  Emblem-book  of  the 
day ; — and  the  motley-wear  receives  a  good  illustration  from  a 
corresponding  expression  in  Whitney,  p.  81  : 


Douce,  1807. 


CHAP.  IV.]  KNOWN    TO    SHAKESPEARE,  139 

"  The  little  childe,  is  pleas'de  with  cockhorse  gaie, 
Although  he  aske  a  courser  of  the  beste  : 
The  ideot  likes,  with  babies  for  to  plaie, 
And  is  disgrac'de  when  he  is  brauelie  dreste  : 
A  motley  coate,  a  cockescombe,  or  a  bell, 
Hee  better  likes,  than  Jewelles  that  excell." 

So,  during  Cade's  rebellion,  when  the  phrase  is  applied  by 
Lord  Say,  in  answer  to  Dick  the  butcher's  question,  "  What  say 
you  of  Kent  ?"  2  Henry  VL  act.  iv.  sc.  7,  1.  49,  vol.  v.  p.  197,— 

"  Nothing  but  this  :  'Tis  bona  terra,  mala  gens;  " 

or  when  falling  under  the  attack  of  York  on  the  field  of 
St.  Alban's,  Lord  Clifford  exclaims,  La  fin  couronne  les  ceuvres 
(2  Henry  VI.  act.  v.  sc.  2,  1.  28,  vol.  v.  p.  217) ;.  these  again  are 
instances  after  the  methods  of  Emblem-writers  ;  and  if  they 
were  carried  out,  as  might  be  done,  would  present  all  the 
characteristics  of  the  Emblem,  in  motto,  illustrative  woodcut, 
and  descriptive  verses. 

It  is  but  an  allusion,  and  yet  the  opening  scene,  act.  i.  sc.  I, 
1.  50,  vol.  ii.  p.  280,  of  the  Merchant  of  Venice  might  borrow  that 
allusion  from  an  expression  of  Alciatus,  edition  Antwerp,  1581, 
p.  92,  Jane  bifrons, — "two-headed  Janus."  (See  woodcut,  p.  140.) 

IANE  bifrons,  qui  iam  transact  a  futuraq  calles, 
Quiq  retro  sannas,  siciit  fir-9  ante,  vides; — 

{i  Janus  two-fronted,  who  things  past  and  future  well  knowest, 
And  who  mockings  behind,  as  also  before  dost  behold."  * 

*  Amplified  by  Whitney,   p.    108,   Respice,   et  prospice,    "Look  back,  and  look 

"  "T^HE  former  parte,  nowe  paste,  of  this  my  booke, 

*•     The  seconde  parte  in  order  doth  insue  : 
Which,  I  beginne  with  IANVS  double  looke, 
That  as  hee  sees,  the  yeares  both  oulde,  and  newe, 
So,  with  regarde,  I  may  these  partes  behoulde, 
Perusinge  ofte,  the  newe,  and  eeke  the  oulde 

And  if,  that  faulte  within  vs  doe  appeare, 
Within  the  yeare,  that  is  alreadie  donne, 
As  IANVS  biddes  vs  alter  with  the  yeare, 
And  make  amendes,  within  the  yeare  begonne, 

Euen  so,  my  selfe  suruayghinge  what  is  past ; 

With  greater  heede,  may  take  in  hande  the  laste." 


1 4o 


EMBLEM-BOOKS 


[CHAP.  IV. 


The  friends  of  'Antonio  banter  him  for  his  sadness,  and  one 

of  them  avers, — 

"  Now  by  two-headed  Janus, 
Nature  hath  framed  strange  fellows  in  her  time  : 
Some  that  will  evermore  peep  through  their  eyes, 
And  laugh  like  parrots  at  a  bag-piper  ; 
And  other  of  such  vinegar  aspect 
That  they'll  not  show  their  teeth  in  way  of  smile, 
Though  Nestor  swear  the  jest  be  laughable." 

Even  if  Shakespeare  understood  no  Latin,  the  picture  itself, 
or  a  similar  one,  would  be  sufficient  to  give  origin  to  the  phrase 

"  two-headed  Janus." 
He  adopts  the  pic- 
ture, but  not  one  of 
the  sentiments ;  these, 
however,  he  did  not 
need  :  it  was  only  as 
a  passing  illustration 
that  he  named  Janus, 
and  how  the  author 
described  the  god's 
qualities  was  no  part 
of  his  purpose. 

,  1581.  Or  if  the  source  of 

the  phrase  be  not  in 

Alciatus,  it  may  have  been  derived  either  from  Whitney's  Choice 
of  Emblemes,  p  108,  or  from  Perriere's  Theatre  des  Bons  Engins, 
Paris,  1539,  emb.  L,  reproduced  in  1866  to  illustrate  pi.  30  of  the 
fac-simile  reprint  of  Whitney.  Perriere's  French  stanza  is  to 
this  effect:  — 

"  In  old  times  the  god  Janus  with  two  faces 
Our  ancients  did  delineate  and  portray, 
To  demonstrate  that  counsels  of  wise  races 
Look  to  a  future,  as  well  as  the  past  day ; 
In  fact  all  time  of  deeds  should  leave  the  traces, 


CHAP.  IV.]  KNOWN    TO    SHAKESPEARE.  141 

And  of  the  past  recordance  ever  have  ; 
The  future  should  foresee  like  providence, 
Following  up  virtue  in  each  noble  quality, 

Seeking  God's  strength  from  sinfulness  to  save. 
Who  thus  shall  do  will  learn  by  evidence 

That  he  has  power  to  live  in  great  tranquillity."  ~;f 

Another  instance  of  Emblem-like  delineation,  or  description, 
we  have  in  King  Henry  V.  act  iii.  sc.  7,  lines  10 — 17,  vol.  iv. 
p.  549.  Louis  the  Dauphin,  praising  his  own  horse,  as  if 
bounding  from  the  earth  like  a  tennis  ball  (see  woodcut  on  next 
page),  exclaims, — 

"  I  will  not  change  my  horse  with  any  that  treads  but  on  four 
pasterns.  £a,  ha !  he  bounds  from  the  earth,  as  if  his  entrails  were 
hairs  ;  le  cheval  volant,  the  Pegasus,  chez  les  narines  de  feu  !  When  I 
bestride  him,  I  soar,  I  am  a  hawk :  he  trots  the  air ;  the  earth  sings 
when  he  touches  it ;  the  basest  horn  of  his  hoof  is  more  musical  than  the 
pipe  of  Hermes,  f 

Orl.  He's  of  the  colour  of  the  nutmeg. 

Dau.  And  of  the  heat  of  the  ginger.  It  is  a  beast  for  Perseus  :  he  is 
pure  air  and  fire  ;  and  the  dull  elements  of  earth  and  water  never  appear  in 
him,  but  only  in  patient  stillness,  while  his  rider  mounts  him  :  he  is  indeed  a 
horse  ;  and  all  other  jades  you  may  call  beasts. 

Con.  Indeed,  my  lord,  it  is  a  most  absolute  and  excellent  horse. 

Dau.  It  is  the  prince  of  palfreys  ;  his  neigh  is  like  the  bidding  of  a 
monarch,  and  his  countenance  enforces  homage." 

*  We  subjoin  the  old  French, — 

"  LE  Dieu  lanus  iadis  a  deux  visages, 
Noz  anciSs  ont  pourtraict  &  trasse, 
Pour  demSstrer  que  1'aduis  des  g§s  sages. 
Vis^  au  futur  aussi  bien  qu'  au  passe, 
Tout  temps  doibt  estr^  en  effect  copasse, 
Et  du  passe  auoir  la  recordance, 
Pour  au  futur  preueoir  en  providence, 
Suyuant  vertu  en  toute  qualite'. 
Qui  le  fera  verra  par  euidence, 
Qu'il  pourra  viure  en  grad  tranquillite*." 

t  The  illustration  we  immediately  choose  is  from  Sym.  cxxxvii.  p.  cccxiiii.  of 
Achilles  Bocchius,  edition  Bologna,  1555,  with  the  motto — 

"  ARS    RHETOR.    TRIPLEX    MOVET,    IVVAT,    DOCET, 
BED    PRyEPOTENS   EST   VERITAS    DIVINITVS. 
SlC    MONSTRA    VITIOR.    DOMAT    PRVDENTIA." 

Rhetoric's  art  threefold,  it  moves,  delights,  instructs, 

But  powerful  above  all  is  truth  of  heaven  inspired. 

So  the  monsters  of  our  vices  doth  wisdom's  self  subdue. 


142 


EMBLEM-BOOKS 


[CHAP.  IV. 


This  lively  description  suits  well  the  device  of  a  Paris  printer, 
Christian  Wechel,  who,  in  1540,*  dwelt  "a  1'enseigne  du  Cheval 


Bocchwis,  1555. 

volant;"  or  that  of  Claude  Marnius  of  Francfort,  who,  before 
1602,  had  a  similar  trade-mark.  At  least  three  of  Reusner's 
Emblems,  edition  Francfort,  1581,  have  the  same  device;  and 
the  Dauphin's  paragon  answers  exactly  to  a  Pegasus  in  the  first 

*  See  Les  Emblemes  de  Maistre  Andre  Alciat,  mis  en  rime  fran$oyse,  Paris,  1540. 


CHAP.  IV.]  KNOWN    TO    SHAKESPEARE. 


143 


Emblem,  dedicated  to  Rudolph  II.,  who,  on  the  death  of  his 
father,  Maximilian,  became  Emperor  of  Germany. 

2YN     ATfl     EPXOMENH. 

Non  abfque  Thefeo. 

EMBLEMA      I. 


Reusner,  1581. 

Ad  Diuum  Rudolphum  Secundum 

C afar  em  Romanum. 

Here*  we  have  a  Pegasus  like  that  which  Shakespeare 
praises  ;  it  has  a  warrior  on  its  back,  and  bounds  along,  trotting 
the  air.  In  other  two  of  Reusner's  Emblems,  the  Winged 
Horse  is  standing  on  the  ground,  with  Perseus  near  him  ;  and 
in  a  third,  entitled  Principis  boni  imago  y — "  Portrait  of  a  good 
prince," — St.  George  is  represented  on  a  flying  steed  t  attacking 
the  Dragon,  and  delivering  from  its  fury  the  Maiden  chained  to 
a  rock,  that  shadows  forth  a  suffering  and  persecuted  church. 
Shakespeare  probably  had  seen  these  or  similar  drawings  before 

*  The  device,  however,  of  this  Emblem  is  copied  from  Symeoni's  Vita  et  Meta- 
morfoseo  d'Ovidio,  Lyons,  1559,  p.  72  ;  as  also  are  some  others  used  by  Reusner. 
f  In  Troilus  and  Cressida,  act  i.  sc.  3,  1.  39,  vol.  vi.  p.  142,  we  read, — 

"  Anon  beheld 

The  strong-ribb'd  bark  through  liquid  mountains  cut, 
Bounding  between  the  two  moist  elements, 
Like  Perseus'  horse." 


i44  EMBLEM-BOOKS  [CHAP.  IV. 

he  described   Louis  the   Dauphin   riding  on  a  charger  that  had 
nostrils  of  fire. 

The  qualities  of  good  horsemanship  Shakespeare  specially 
admired.  Hence  those  lines  in  Hamlet,  act  iv.  sc.  7,  1.  84, 
vol.  viii.  p.  145, — 

"  Pve  seen  myself,  and  served  against,  the  French, 
And  they  can  well  on  horseback  :  but  this  gallant 
Had  witchcraft  in't ;  he  grew  unto  his  seat, 
And  to  such  wondrous  doing  brought  his  horse, 
As  he  had  been  incorpsed  and  demi-natured 
With  the  brave  beast." 

An  emblem  in  Alciatus,  edition  1551,  p.  20,  also  gives  the 
mounted  warrior  on  the  winged  horse  ; — it  is  Bellerophon  in  his 
contest  with  the  Chimaera.  The  accompanying  stanza  has  in  it 
an  expression  like  one  which  the  dramatist  uses, — 

"  Sic  tu  Pegaseis  vectus  petis  aethera  pennis,"— 
"  So  thou  being  borne  on  the  wings  of  Pegasus  seekest  the  air." 

Equally  tasting  of  the  Emblem-writers  of  Henry's  and 
Elizabeth's  reigns  is  that  other  proverb  in  French  which  Shake- 
speare places  in  the  mouth  of  the  Dauphin  Louis.  The  subject 
is  still  his  "  paragon  of  animals,"  which  he  prefers  even  to  his 
mistress.  See  Henry  V.  act  iii.  sc.  7,  1.  54,  vol  iv.  p.  550.  "I 
had  rather,"  he  says,  "  have  my  horse  to  my  mistress  ; "  and  the 
Constable  replies,  "  I  had  as  lief  have  my  mistress  a  jade." 

"  Dau.  I  tell  thee,  constable,  my  mistress  wears  his  own  hair. 

Con.  I  could  make  as  true  a  boast  as  that,  if  I  had  a  sow  to  my 
mistress. 

Dau.  Le  chien  est  retourne'  a  son  propre  vomissement,  et  la  truie 
lave'e  au  bourbier.  Thou  makest  use  of  any  thing."  ["  The  dog  has  returned 
to  his  vomit,  and  the  sow  that  had  been  washed,  to  her  mire."] 

Though  the  French  is  almost  a  literal  rendering  of  the  Latin 
Vulgate,  2  Pet.  ii.  23,  "  Canis  reversus  ad  suum  vomitum  :  &  sus 


CHAP.  IV.] 


KNOWN   TO    SHAKESPEARE. 


lota  in  volutabro  luti ;"  the  whole  conception  is  in  the  spirit  of 
Freitag's  Mythologia  Ethica,  Antwerp,  1579,  in  which  there  is  ap- 
pended to  each  emblem  a  text  of  Scripture.  A  subject  is  chosen,  a 
description  of  it  given,  an  engraving  placed  on  the  opposite  page, 
and  at  the  foot  some  passage  from  the  Latin  vulgate  is  applied. 

It  may  indeed  be  objected  that,  if  Shakespeare  was  well 
acquainted  with  the  Emblem  literature  it  is  surprising  he  should 
pass  over,  almost  in  silence,  some  Devices  which  partake 
peculiarly  of  his  general  spirit,  and  which  would  furnish  sugges- 
tions for  very  forcible  and  very  appropriate  descriptions.  Were 
we  to  examine  his  works  thoroughly,  we  should  discover  some 
very  remarkable  omissions  of  subjects  that  appear  to  be  exactly 
after  his  own  method  and  perfectly  natural  to  certain  parts  of 
his  dramas.  We  may  instance  the  almost  total  want  of  com- 
mendation for  the  moral  qualities  of  the  dog,  whether  "  mastiff, 
greyhound,  mongrel  grim,  hound  or  spaniel,  brach  or  lym,  or 
bob-tail  tike,  or  trundle-tail."  The  whole  race  is  under  a  ban. 

So  industry,  diligence,  with  their   attendant   advantages, — 
negligence,    idleness,    with   their 
disadvantages,    are   scarcely   al- 
luded  to,   and   but   incidentally 
praised  or  blamed. 

We  may  take  one  of  Perriere's 
Emblems,  the  lOist  of  Les  Bans 
Engins,  as  our  example,  to  show 
rather  divergence  than  agree- 
ment,— or,  at  any  rate,  a  different 
way  of  treating  the  subject.  Perricre,  i539. 


"  En  ce  pourtraict  pouuez  veoir  diligence, 
Tenant  en  main  le  cornet  de  copie  : 
Elle  triumphe'  en  grand  magnificence  : 
Car  de  paresse  one  ne  fut  assoupie  : 


146  EMBLEM-BOOKS  [CHAP.  IV. 

Dessoubz  ses  piedz  tiet  famine"  acroupie 
Et  attache^'  en  grand  captiuitd  : 
Puis  les  formys  par  leur  hastiuite' 
Diligemment  tirent  le  tout  ensemble  : 
Pour  demonstrer  qu'  auec  oysiuite', 
Impossible  est  que  gradz  bies  To  asseble." 

"  A  portrait  here  you  see  of  diligence 
Bearing  in  hand  full  plenty's  horn, 
Triumphant  in  her  great  magnificence, 
And  ever  holding  laziness  in  scorn  ; 
Crouching  beneath  her  feet  famine  forlorn 
In  fetters  bound  of  strong  captivity. 
And  then  the  ants  with  their  activity 
The  whole  most  diligently  along  do  draw, — 
A  demonstration  clear  that  idleness 
Finds  it  impossible  by  nature's  law 
With  stores  of  goods  her  poverty  to  bless." 

Under  the  motto,  Otiosi  semper  egentes, — "The  idle  always 
destitute," — Whitney,  p.  175,  describes  the  same  conditions,— 

"  HERE,  Idlenes  doth  weepe  amid  her  wantes, 
Neare  famished  :  whome,  labour  whippes  for  Ire  : 
Here,  labour  sittes  in  chariot  drawen  with  antes  : 
And  dothe  abounde  with  all  he  can  desire. 
The  grashopper,  the  toyling  ante  derides, 
In  Sommers  heate,  cause  she  for  coulde  prouides." 

The  idea  is  in  some  degree  approached  in  the  Chorus  of 
Henry  V.  act  i.  1.  5,  vol.  iv.  p.  491,— 

"  Then  should  the  warlike  Harry,  like  himself 
Assume  the  port  of  Mars  ;  and  at  his  heels, 
Leash'd  in  like  hounds,  should  famine,  sword,  and  fire 
Crouch  for  employment." 

The  triumph  of  industry  may  also  be  inferred  from  the 
marriage  blessing  which  Ceres  pronounces  in  the  Masque  of  the 
Tempest,  act  iv.  sc.  I,  1.  no,  vol.  i.  p.  57, — 

"  Earth's  increase,  foison  plenty, 
Barns  and  garners  never  empty  ; 


CHAP.  IV.]  KNOWN    TO    SHAKESPEARE.  147 

Vines  with  clustering  bunches  growing  ; 
Plants  with  goodly  burthen  bowing  ; 
Spring  come  to  you  at  the  farthest 
In  the  very  end  of  harvest ! 
Scarcity  and  want  shall  shun  you, 
Ceres'  blessing  so  is  on  you." 

Yet  for  labour,  work,  industry,  diligence,  or  by  whatever 
other  name  the  virtue  of  steady  exertion  may  be  known,  there 
is  scarcely  a  word  of  praise  in  Shakespeare's  abundant  voca- 
bulary, and  of  its  effects  no  clear  description.  We  are  told  in 
Cymbeline,  act  iii.  sc.  6,  1.  31,  vol.  ix.  p.  240, — 

"  The  sweat  of  industry  would  dry  and  die, 

But  for  the  end  it  works  to Weariness 

Can  snore  upon  the  flint,  when  resty  sloth 
Finds  the  down  pillow  hard." 

And  in  contrasting  the  cares  of  royalty  with  the  sound  sleep  of 
the  slave,  Henry  V.  (act  iv.  sc.  i,  1.  256,  vol  iv.  p.  564)  declares 
that  the  slave,— 

"  Never  sees  horrid  night,  the  child  of  hell ; 
But  like  a  lacquey,  from  the  rise  to  set, 
Sweats  in  the  eye  of  Phoebus,  and  all  night 
Sleeps  in  Elysium  ;  next  day,  after  dawn, 
Doth  rise,  and  help  Hyperion  to  his  horse  ; 
And  follow  so  the  ever  running  year 
With  profitable  labour  to  his  grave  ; " 

but  the  subject  is  never  entered  upon  in  its  moral  and  social 
aspects,  unless  the  evils  which  are  ascribed  by  the  Duke  of 
Burgundy  (Henry  V.  act  v.  sc.  2,  1.  48,  vol.  iv.  p.  596)  to  war,  are 
also  to  be  attributed  to  the  negligence  which  war  creates, — 

"  The  even  mead,  that  erst  brought  sweetly  forth 
The  freckled  cowslip,  burnet  and  green  clover, 
Wanting  the  scythe,  all  unconnected,  rank, 
Conceives  by  idleness  ;  and  nothing  teems 
But  hateful  docks,  rough  thistles,  kecksies,  burs, 
Losing  both  beauty  and  utility." 


148  EMBLEM-BOOKS  [CHAP.  IV. 

Another  instance  we  may  give  of  that  Emblem  spirit,  which 
often  occurs  in  Shakespeare,  and  at  the  same  time  we  may 
supply  an  example  of  Freitag's  method  of  illustrating  a  subject, 
and  of  appending  to  it  a  scriptural  quotation.  (See  Mythologia 
Ethica,  Antwerp,  1579,  p.  29.)  The  instance  is  from  King  Lear, 
act  ii.  sc.  4,  1.  61,  vol.  viii.  p.  317,  and  the  subject,  Contraria 
industries  ac  desidia  prcemia — "  The  opposite  rewards  of  industry 
and  slothfulness." 

When  Lear  had  arrived  at  the  Earl  of  Gloster's  castle,  Kent 
inquires, — 

"  How  chance  the  king  comes  with  so  small  a  train? 

Fool.  An  thou  hadst  been  set  i'  the  stocks  for  that  question,  thou  hadst 
well  deserv'd  it. 

Gent.  Why,  fool  ? 

Fool.  We'll  set  thee  to  school  to  an  ant  to  teach  thee  there's  no  labouring 
in  the  winter." 

That  school  we  have  presented  to  us  in  Freitag's  engraving 
(see  woodcut  on  next  page),  and  in  the  stanzas  of  Whitney, 
p.  159.  There  are  the  ne'er-do-well  grasshopper  and  the  sage 
schoolmaster  of  an  ant,  propounding,  we  may  suppose,  the 
wise  saying,  Duin  cetatis  ver  agitur :  consule  brumce, — "While 
the  spring  of  life  is  passing,  consult  for  winter," — and  the  poet 
moralizes  thus : 

"IN  winter  coulde,  when  tree,  and  bushe,  was  bare, 
And  frost  had  nip'd  the  rootes  of  tender  grasse  : 
The  antes,  with  ioye  did  feede  vpon  their  fare, 
Which  they  had  stor'de,  while  sommers  season  was  : 
To  whome,  for  foode  the  grashopper  did  crie, 
And  said  she  staru'd,  if  they  did  helpe  denie. 

Whereat,  an  ante,  with  longe  experience  wise  ? 

And  frost,  and  snowe,  had  manie  winters  scene  : 

Inquired,  what  in  sommer  was  her  guise. 

Quoth  she,  I  songe,  and  hop't  in  meadowes  greene  : 
Then  quoth  the  ante,  content  thee  with  thy  chaunce, 
For  to  thy  songe,  nowe  art  thou  light  to  daunce  ?" 


CHAP.  IV.]  KNOWN    TO    SHAKESPEARE. 

Contraria  induftrias  ac  defidias 
praemia. 


149 


f 're  if  tig,  1579. 

Propter  frigus  piger  arare  noluit :  mendlcabit  ergo  aft  ate,  &  non  dabitur  illi. 

Prouerb.  20,  4. 

"  The  sluggard  will  not  plow  by  reason  of  the  cold ;  therefore  shall  he 
beg  in  harvest,  and  have  nothing." 

Freitag's  representation  makes  indeed  a  change  in  the  season 
at  which  the  "  ante,  with  longe  experience  wise,"  administers 
her  reproof;  but  it  is  equally  the  school  for  learning  in  the  time 
of  youth  and  strength,  to  provide  for  the  infirmities  of  age  and 
the  adversities  of  fortune. 


And  more  than  similar  in  spirit  to  the  Emblem  writers  which 
preceded,  almost  emblems  themselves,  are  the  whole  scenes 
from  the  Merchant  of  Venice,  act  ii.  sc.  7  and  9,  and  act  iii.  sc.  2, 


150  EMBLEM-BOOKS  [CHAP.  IV. 

where  are  introduced  the  three  caskets  of  gold,  of  silver,  and 
of  lead,  by  the  choice  of  which  the  fate  of  Portia  is  to  be 
determined,* — 

"  The  first,  of  gold,  who  this  inscription  bears, 
'  Who  chooseth  me  shall  gain  what  many  men  desire  ; ' 
The  second,  silver,  which  this  promise  carries, 
'  Who  chooseth  me  shall  get  as  much  as  he  deserves  ; ' 
This  third,  dull  lead,  with  warning  all  as  blunt, 
'  Who  chooseth  me  must  give  and  hazard  all  he  hath.'" 

Act  ii.  sc.  7,  lines  4 — 9. 

And  when  the  caskets  are  opened,  the  drawings  and  the 
inscriptions  on  the  written  scrolls,  which  are  then  taken  out, 
examined  and  read,  are  exactly  like  the  engravings  and  the 
verses  by  which  emblems  and  their  mottoes  are  set  forth. 
Thus,  on  unlocking  the  golden  casket,  the  Prince  of  Morocco 
exclaims, — 

"  O  hell  !  what  have  we  here  ? 
A  carrion  Death,  within  whose  empty  eye 
There  is  a  written  scroll !     I'll  read  the  writing.  [Reads.] 
All  that  glisters  is  not  gold  ; 
Often  have  you  heard  that  told  : 
Many  a  man  his  life  hath  sold 
But  my  outside  to  behold  : 
Gilded  tombs  do  worms  infold. 
Had  you  been  as  wise  as  bold, 
Young  in  limbs,  in  judgment  old, 
Your  answer  had  not  been  inscrolPd  : 
Fare  you  well ;  your  suit  is  cold." 

Act  ii.  sc.  7,  lines  62—73. 

The  Prince  of  Arragon,  also,  on  opening  the  silver  casket, 
receives  not  merely  a  written  scroll,  as  is  represented  in 
Symeoni's  "  DlSTlCHl  MORALI," — Moral  Stanzas, — but  what 
corresponds  to  the  device  or  woodcut  of  the  Emblem-book  ; 


*  The    description    and    quotations    are    almost    identical    with    the    Whitney 
Dissertations,  pp.  294-6. 


CHAP.  IV.] 


KNOWN   TO    SHAKESPEARE. 


"  The  portrait  of  a  blinking  idiot,"  who  presents  to  him  "  The 
schedule,"  or  explanatory  rhymes, — 

"  The  fire  seven  times  tried  this  : 
Seven  times  tried  that  judgment  is, 
That  did  never  choose  amiss. 
Some  there  be  that  shadows  kiss  ; 
Such  have  but  a  shadow's  bliss  : 
There  be  fools  alive,  I  wis, 
Silver'd  o'er  ;  and  so  was  this. 
Take  what  wife  you  will  to  bed, 
I  will  ever  be  your  head  : 
So  be  gone  :  you  are  sped." 

Act  ii.  sc.  9,  lines  63 — 72. 

These  Emblems  of  Shakespeare's  are  therefore  complete  in 
all  their  parts  ;  the  mottoes,  the  pictures,  "  a  carrion  Death " 
and  "  a  blinking  idiot,"  and  the  descriptive  verses. 


The  words  of  Portia  (act.  ii.  sc.  9,  1.  79,  vol.  ii.  p.  319),  when 
the  Prince  of  Arragon  says, — 


"  Sweet  adieu,  I'll  keep  my  oath, 
Patiently  to  bear  my  wroth  ; " 

are  moreover  a  direct  reference 
to  the  Emblems  which  occur 
in  various  authors.  Les  Devises 
Heroiqves,  by  Claude  Paradin, 
Antwerp,  1562,  contains  the  ad- 
joining Emblem,  Too  lively  a 
pleasure  conducts  to  death. 

And  Giles  Corrozet  in  his 
"HECATOMGRAPHiE,C'esta  dire, 
les  descriptions  de  cent  figures, 
&c.,"*  adopting  the  motto,  War 


Cofi  viuo  Piacer  conduce  a  morte. 


Paradin,  1562. 


*  See  Whitney's  Fac -simile  Reprint,  plate  32. 


152 


EMBLEM-B  0  OKS 


[CHAP.  IV. 


La  guerre  doulce  aux  inexperimentez. 


is  sweet  only  to  the  inexperienced,  presents,  in  illustration,  a  butter- 
fly fluttering  towards  a  candle. 

This  device,  in  fact,  was 
one  extremely  popular  with 
the  Emblem  literati.  Bois- 
sard  and  Messin's  Emblems, 
1588,  pp.  58,  59,  present  it 
to  the  mottoes,  "  Temerite 
dangereuse,"  or  Temere  ac 
Pericvlose, — "  rashly  and  dan- 
gerously." Joachim  Camera- 
rius,  in  his  Emblems  Ex  Vola- 
tilibus  et  Insectis  (Nuremberg, 
4to,  1596),  uses  it,  with  the 
motto,  Brevis  et  damnosa 
Voluptas — "  A  short  and  de- 
structive pleasure," — and  for- 
tifies himself  in  adopting 
it  by  no  less  authorities 
than  ^Eschylus  and  Aristotle. 
Emblemes  of  Love,  with 

Verses  in  Latin,  English,  and  Italian,  by  Otho  Vaenius, 
4to,  Antwerp,  1608,  present  Cupid  to  us,  at  p.  102,  as  watch- 
ing the  moths  and  the  flames  with  great  earnestness,  the 
mottoes  being,  Brevis  et  damnosa  vohiptas, — "  For  one  plea- 
sure a  thousand  paynes,"  -  —  and  Breue  gioia,  —  "  Brief  the 
gladness." 

There  is,  too,  on  the  same  subject,  the  elegant  device  which 
Symeoni  gives  at  p.  25  of  his  "  DlSTlCHl  MORALI,"  and  which 
we  repeat  on  the  next  page. 

The  subject  is,  Of  Love  too  much;  and  the  motto,  "Too  much 
pleasure  leads  to  death,"  is  thus  set  forth,  almost  literally,  by 
English  rhymes  : — 


Corrozet)  1540. 

Les  Papillons  fe  vont  brufler 

A  la  chandelle  qui  reluyft. 

Tel  veult  a  la  bataille'  aller 

Q^ui  ne  fcaift  combien  guerre  nuyft. 

"The    Butterflies    themselves    are 

about  to  burn, 
In  the  candle  which  still  shines 

on  and  warms  ; 
Such  foolish,  wish  to  battle  fields 

to  turn, 
Who  know  not  of  the  war,  how 

much  it  harms." 


CHAP.  IV.]  KNOWN    TO    SHAKESPEARE. 

"  In  moderation  Love  is  praised  and  prized, 
Loss  and  dishonour  in  excess  it  brings  : 
In  burning  warmth  how  fail  its  boasted  wings, 
As  simple  butterflies  in  light  chastised." 


153 


D'AMOR      SO- 
VE  RCH  I  O. 


Giovio  and  Synteoni,  1561. 

//  moderato  amor  fi  loda  &  prezza,  Cod  trop- 

Ma  II  troppo  apporta  danno  £?  difJionore,  po   placer 

EtfpeJJb  manca  nel  fouerchlo  ardore,  conduce  a 

Qual  femplice  farfalla  al  lume  auuezza.  morte. 


Now  can  there  be  unreasonableness  in  supposing  that  out  of 
these  many  Emblem  writers  Shakespeare  may  have  had  some 
one  in  view  when  he  ascribed  to  Portia  the  words, — 

"  Thus  hath  the  candle  singed  the  moth. 
O,  these  deliberate  fools  !  when  they  do  choose, 
They  have  the  wisdom  by  their  wit  to  lose." 

Act  ii.  sc.  9,  lines-79 — 81. 
x 


i54  EMBLEM-BOOKS  [CHAP.  IV. 

The  opening  of  the  third  of  the  caskets  (act.  iii.  sc.  2,  1.  115, 
vol.  ii.  p.  328),  that  made  of  lead,  is  also  as  much  an  Emblem 
delineation  as  the  other  two,  excelling  them,  indeed,  in  the 
beauty  of  the  language  as  well  as  in  the  excellence  of  the  device, 
a  very  paragon  of  gracefulness.  "  What  find  I  here  ?  "  demands 
Bassanio  ;  and  himself  replies, — 

"  Fair  Portia's  counterfeit  !     What  demi-god 
Hath  come  so  near  creation?     Move  these  eyes? 
Or  whether,  riding  on  the  balls  of  mine 
Seem  they  in  motion  ?     Here  are  sever'd  lips, 
Parted  with  sugar  breath  :  so  sweet  a  bar 
Should  sunder  such  sweet  friends.     Here  in  her  hairs 
The  painter  plays  the  spider,  and  hath  woven 
A  golden  mesh  to  entrap  the  hearts  of  men, 
Faster  than  gnats  in  cobwebs  :  *  but  her  eyes, — 
How  could  he  see  to  do  them  ?     Having  made  one, 
Methinks  it  should  have  power  to  steal  both  his, 
And  leave  itself  unfurnish'd.     Yet  look,  how  far 
The  substance  of  my  praise  doth  wrong  this  shadow 
In  underprizing  it,  so  far  this  shadow 
Doth  limp  behind  the  substance.     Here's  a  scroll, 
The  continent  and  summary  of  my  fortune. 
[Reads]    You  that  choose  not  by  the  view, 

Chance  as  fair,  and  choose  as  true  ! 

Since  this  fortune  falls  to  you, 

Be  content  and  seek  no  new. 

If  you  will  be  pleased  with  this, 

And  hold  your  fortune  for  your  bliss, 

Turn  you  where  your  lady  is, 

And  claim  her  with  a  loving  kiss." 

In  these  scenes  of  the  casket,  Shakespeare  himself,  therefore, 
is  undoubtedly  an  Emblem  writer  ;  and  there  needs  only  the 

*  In  the  work  of  Joachim  Camerarius,  just  quoted,  at  p.  152,  to  the  motto, 
"  VIOLENTIOR  EXIT," — The  more  violent  escapes,  p.  99, — there  is  the  device  of  Gnats 
and  Wasps  in  a  cobweb,  with  the  stanza, — 

"  Innodat  culicem,  sed  vespa:  pervia  tela  est; 
Sic  rumpit  leges  vis,  quibus  hceret  inops." 

"  The  gnat  the  web  entangles,  but  to  the  wasp 
Throughout  is  pervious  ;  so  force  breaks  laws, 
To  which  the  helpless  is  held  bound  in  chains." 


CHAP.  TV.]  KNOWN    TO    SHAKESPEARE.  155 

woodcut,  or  the  engraving,  to  render  them  as  perfect  examples 
of  Emblem  writing  as  any  that  issued  from  the  pens  of  Alciatus, 
Symeoni,  and  Beza,  The  dramatist  may  have  been  sparing  in 
his  use  of  this  tempting  method  of  illustration,  yet,  with  the 
instances  before  us,  we  arrive  at  the  conclusion  that  Shakespeare 
knew  well  what  Emblems  were.  And  surely  he  had  seen,  and  in 
some  degree  studied,  various  portions  of  the  Emblem  literature 
which  was  anterior  to,  or  contemporary  with  himself. 


Cebes,  ed.  1552.     Motto  _/»w#  Plato. 


156  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 


CHAPTER   V. 

SIX  DIRECT  REFERENCES  IN  THE  PERICLES  TO  BOOKS 
OF  EJMBLEMS,  SOME  OF  THEIR  DEVICES  DESCRIBED, 
AND  OF  THEIR  MOTTOES  QUOTED. 

HAKESPEARE'S  name,  in  three  quarto 
editions,  published  during  his  lifetime, 
appears  as  author  of  the  play  of  Pericles, 
Prince  of  Tyre ;  and  if  a  decision  be  made 
that  the  authorship  belongs  to  him,  and 
that  in  the  main  the  work  was  his  compo- 
sition, then  our  previous  conjectures  are  changed  into  certain- 
ties, and  we  can  confidently  declare  who  were  the  Emblem 
writers  he  refers  to,  and  can  exhibit  the  very  passages  from 
their  books  which  he  has  copied  and  adopted. 

The  early  folio  editions  of  the  plays,  those  of  1623  and  1632, 
omit  the  Pericles  altogether,  but  later  editions  restore  it  to  a 
place  among  the  works  of  Shakespeare.  Dr.  Farmer  contends 
that  the  hand  of  the  great  dramatist  is  visible  only  in  the  last  act ; 
but  others  controvert  this  opinion,  and  maintain,  though  he  was 
not  the  fabricator  of  the  plot,  nor  the  author  of  every  dialogue 
and  chorus,  that  his  genius  is  evident  in  several  passages. 

In  Knight's  Pictorial  Shakspere,  supplemental  volume,  p.  13, 
we  are  informed  :  "  The  first  edition  of  Pericles  appeared  in  1609," 
— several  years  before  the  dramatist's  death, — "  under  the  follow- 
ing title, — 'The  late  and  much  admired  play,  called  Pericles,  Prince 
of  Tyre,  &c.  By  William  Shakespeare:  London,  Glosson,  1609.'  " 


CHAP.  V.]  IN    THE    PERICLES.  157 

According  to  the  Cambridge  editors,  vol.  ix.  p.  i,  Preface, 
"  another  edition  was  issued  in  the  same  year."  The  publication 
was  repeated  in  1611,  1619,  1630  and  1635,  so  that  at  the  very 
time  when  Shakespeare  was  living,  his  authorship  was  set  forth  ; 
and  after  his  death,  while  his  friends  and  contemporaries  were 
alive,  the  opinion  still  prevailed. 

The  conclusion  at  which  Knight  arrives,  sup.  vol.  pp.  118,  119, 
is  thus  stated  by  him  :  "  We  advocate  the  belief  that  Pyrocles, 
or  Pericles  was  a  very  early  work  of  Shakspere  in  some  form, 
however  different  from  that  which  we  possess."  And  again, 
"  We  think  that  the  Pericles  of  the  beginning  of  the  seventeenth 
century  was  the  revival  of  a  play  written  by  Shakspere  some 
twenty  years  earlier.  .  .  .  Let  us  accept  Dryden's  opinion,  that 

"  '  Shakespeare's  own  Muse  his  Pericles  first  bore.' " 

The  Cambridge  editors,  vol.  ix.  p.  10,  ed.  1866,  gave  a  firmer 
judgment: — "There  can  be  no  doubt  that  the  hand  of  Shake- 
speare is  traceable  in  many  of  the  scenes,  and  that  throughout 
the  play  he  largely  retouched,  and  even  rewrote,  the  work  of 
some  inferior  dramatist.  But  the  text  has  come  down  to  us  in 
so  maimed  and  imperfect  a  state  that  we  can  no  more  judge  of 
what  the  play  was  when  it  left  the  master's  hand  than  we  should 
have  been  able  to  judge  of  Romeo  and  Juliet,  if  we  had  only  had 
the  first  quarto  as  authority  for  the  text." 

Our  own  Hallam  tells  us,- — "Pericles  is  generally  reckoned  to 
be  in  part,  and  only  in  part,  the  work  of  Shakespeare  : "  but 
with  great  confidence  the  critic  Schlegel  declares, — "  This  piece 
was  acknowledged  to  be  a  work,  but  a  youthful  work  of  Shake- 
speare's. It  is  most  undoubtedly  his,  and  it  has  been  admitted 
into  several  later  editions  of  his  works.  The  supposed  imperfec- 
tions originate  in  the  circumstance  that  Shakespeare  here 
handled  a  childish  and  extravagant  romance  of  the  old  poet 
Gower,  and  was  unwilling  to  drag  the  subject  out  of  its  proper 


158  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

sphere.  Hence  he  even  introduces  Gower  himself,  and  makes 
him  deliver  a  prologue  in  his  own  antiquated  language  and 
versification.  This  power  of  assuming  so  foreign  a  manner  is  at 
least  no  proof  of  helplessness." 

There  are,  then,  strong  probabilities  that  in  the  main  the 
Pericles  was  Shakespeare's  own  composition,  or  at  least  was 
adopted  by  him  ;  it  belongs  to  his  early  dramatic  life,  and  at 
any  rate  it  may  be  taken  as  evidence  to  show  that  the  Emblem 
writers  were  known  and  made  use  of  between  1589  and  1609  by 
the  dramatists  of  England. 

Books  of  Emblems  are  not  indeed  mentioned  by  their  titles, 
nor  so  quoted  in  the  Pericles  as  we  are  accustomed  to  do,  by 
making  direct  references  ;  they  were  a  kind  of  common  property, 
on  which  everyone  might  pasture  his  Pegasus  or  his  Mule  with- 
out any  obligation  to  tell  where  his  charger  had  been  grazing. 
The  allusions,  however,  are  so  plain,  the  words  so  exactly  alike, 
that  they  cannot  be  misunderstood.  The  author  was  of  a 
certainty  acquainted  with  more  than  one  Emblem  writer,  in 
more  than  one  language,  and  Paradin,  Symeoni,  and  our  own 
Whitney  may  be  recognised  in  his  pages.  We  conclude  that 
he  had  them  before  him,  and  copied  from  them  when  he  penned 
the  second  scene  of  the  Second  Act  of  Pericles. 

The  Dialogue  is  between  Simonides,  king  of  Pentapolis,  and 
his  daughter,  Thaisa,  on  occasion  of  the  "triumph,"  or  festive 
pageantry,  which  was  held  in  honour  of  her  birthday.  (Pericles, 
act.  ii.  sc.  2,  lines  17—47,  vol.  ix.  pp.  343,  344.) 

' '  Enter  a  Knight ;  he  passes  over,  and  his  Squire  presents  his  shield  to  the  Princess. 

Sim.  Who  is  the  first  that  doth  prefer  himself? 

Thai.  A  knight  of  Sparta,  my  renowned  father  ; 
And  the  device  he  bears  upon  his  shield 
Is  a  black  Ethiope  reaching  at  the  sun  ; 
The  word,  *  Lux  tua  vita  mihi.' 


CHAP.  V.]  IN    THE    PERICLES.  159 

Sim.  He  loves  you  well  that  holds  his  life  of  you. 

{The  Second  Knight  passes. 

Who  is  the  second  that  presents  himself? 

Thai.  A  prince  of  Macedon,  my  royal  father  ; 
And  the  device  he  bears  upon  his  shield 
Is  an  arm'd  knight  that's  conquer'd  by  a  lady  ; 
The  motto  thus,  in  Spanish,  '  Piu  por  dulzura  que  por  fuerza/ 

[  The  Third  Knight  passes. 

Sim.  And  what's  the  third  ? 

Thai.  The  third  of  Antioch  ; 

And  his  device,  a  wreath  of  chivalry  ; 
The  word,  '  Me  pompas  provexit  apex.' 

[The  Fourth  Knight  passes. 

Sim.  What  is  the  fourth  ? 

Thai.  A  burning  torch  that's  turned  upside  down  ; 
The  word,  '  Quod  me  alit,  me  extinguit.' 

Sim.  Which  shows  that  beauty  hath  his  power  and  will, 
Which  can  as  well  inflame  as  it  can  kill. 

[The  Fifth  Knight  passes. 

Thai.  The  fifth,  an  hand  environed  with  clouds, 
Holding  out  gold  that's  by  the  touchstone  tried  ; 
The  motto  thus,  '  Sic  spectanda  fides.' 

[The  Sixth  Knight  passes. 

Sim.  And  what's 

The  sixth  and  last,  the  which  the  knight  himselt 
With  such  a  graceful  courtesy  delivered  ? 

Thai.  He  seems  to  be  a  stranger  ;  but  his  present  is 
A  wither'd  branch,  that's  only  green  at  top  ; 
The  motto,  '  In  hac  spe  vivo.' 

Sim.  A  pretty  moral ; 
From  the  dejected  state  wherein  he  is, 
He  hopes  by  you  his  fortunes  yet  may  flourish." 

As  with  the  ornaments  "  in  silk  and  gold,"  which  Mary 
Queen  of  Scotland  worked  on  the  bed  of  her  son  James,  or  with 
those  in  "  the  lady's  closet "  at  Hawsted,  we  trace  them  up  to 
their  originals,  and  pronounce  them,  however  modified,  to  be 
derived  from  the  Emblem-books  of  their  age  ;  so,  with  respect 
to  the  devices  which  the  six  knights  bore  on  their  shields,  we 
conclude  that  these  have  their  sources  in  books  of  the  same 
character,  or  in  the  genius  of  the  author  who  knew  so  well  how 
to  contrive  and  how  to  execute.  Emblems  beyond  a  doubt  thev^ 
are,  though  not  engraved  on  our  author's  page,  as  they  were  on 


ibo  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

the  escutcheons  of  the  knightly  company.  Take  the  device 
and  motto  of  the  gnats  or  butterflies  and  the  candle  ;  we  trace 
them  from  Vaenius,  Camerarius,  and  Whitney,  to  Paradin,  from 
Paradin  to  Symeoni,  and  from  Symeoni  to  Giles  Corrozet, — at 
every  step  we  pronounce  them  Emblems, — and  should  pass  the 
same  judgment,  though  we  could  not  trace  them  at  all.  It  is 
the  same  with  these  devices  in  the  Triumph  Scene  of  Pericles  ; 
we  discover  the  origin  of  some  of  them  in  Emblem  works  of,  or 
before  Shakespeare's  era, — and  where  we  fail  to  discover,  there 
we  attribute  invention,  invention  guided  and  perfected  by 
masters  in  the  art  of  fashioning  pictures  to  portray  thoughts  by 
means  of  things.  We  will,  however,  in  due  order  consider  the 
devices  and  mottoes  of  these  six  knights  who  came  to  honour 
the  king's  daughter. 

The  first  knight  is  the  Knight  of  Sparta, — 

"  And  the  device  he  bears  upon  his  shield 
Is  a  black  Ethiope  reaching  at  the  sun  ; 
The  word,  Lux  tua  vita  mihi" 

Act  ii.  sc.  2,  lines  19 — 21. 

A  motto  almost  identical  belongs  to  an  old  family  of  Worcester- 
shire, the  Blounts,  of  Soddington,  of  which  Sir  Edward  Blount, 
Bart.,  is,  or  was  the  representative ;  their  motto  is,  Lux  tua  vita 
•mea, — "Thy  light,  my  life;" — but  their  crest  is  an  armed  foot 
in  the  sun,  not  a  black  Ethiop  reaching  towards  him.  There 
was  a  Sir  Walter  Blount  slain  on  the  king's  side  at  the  battle 
of  Shrewsbury,  and  whom,  previous  to  the  battle,  Shakespeare 
represents  as  sent  by  Henry  IV.  with  offers  of  pardon  to  Percy. 
(Henry  IV.  Pt.  i.  act.  iv.  sc.  3,  1.  30,  vol.  iv.  p.  323.)  A  Sir  James 
Blount  is  also  briefly  introduced  in  Richard  III.  act.  v.  sc.  2, 
1.  615.  The  name  being  familiar  to  Shakespeare,  the  motto  also 
might  be  ; — and  by  a  very  slight  alteration  he  has  ascribed  it  to 
the  Knight  of  Sparta. 


CHAP.  V.]  IN    THE    PERICLES.  161 

I  have  consulted  a  considerable  number  of  books  of  Emblems 
published  before  the  Pericles  was  written,  but  have  not  dis- 
covered either  the  device  or  "  the  word  "  exactly  in  the  form 
given  in  the  play.  There  is  a  near  approach  to  the  device  in 
Reusner's  Emblems,  printed  at  Francfort  in  1581  (Emb.  7,  lib.  i. 
p.  9).  A  man  is  represented  stretching  forth  his  hand  towards 
the  meridian  sun,  and  the  device  is  surmounted  by  the  motto, 
Sol  animi  virtus, — "Virtue  the  sun  of  the  soul."  The  elegiac 
verses  which  follow  carry  out  the  thought  with  considerable 
clearness, — 

"  Sol,  ocuhcs  cazli,  radijs  illuminat  orbem  : 
Et  Phoebe  noctem  disjicit  alba  nigram. 
Sol  animi  virtus  scnsus  illuminat  cegros  : 

Et  tenebras  mentis  discutit  alma  fides. 
Si  menti  virtus,  virtuti  prcsuia  lucet 

Piira  fides :  nihil  hoc  clarius  esse  potest. 
Aurea  virtutis  species,  fideiq.,  Philippe, 

Praradians,  coelo  sic  tibi  monstrat  iter. 
Scilicet  hie  vita  Sol  est,  &**  Lucifer  vnus  : 
HCEC  Phoebe,  noctem  qua  fugat  igne  suo. 
QUCE  dum  mente  vides  correcta  lumina;  mundi 

Imparddus  tenebras  despicis,  atq.  metus. 

Sol  magno  Phcebeq.  micent,  <Sr»  Lucifer  orbi : 

Dum  tibi  sic  virtus  luceat,  atq.  fides"* 

Among  these  lines  is  one  to  illustrate  the  first  knight's  motto ; 

"  Scilicet  hie  vitce  Sol  est,  &>  Lucifer  vnus" 
"  This  in  truth  is  the  Sun  of  life,  and  the  one  Light-bringer." 

*  Thus  to  be  rendered  into  symmetrical  lines  of  English, — 

"  The  Sun,  the  eye  of  heaven,  with  beams  the  world  illumes, 

And  the  pale  Moon  afar  scatters  black  night. 
So  virtue,  the  soul's  sun,  our  pining  senses  illumes, 

And  genial  faith  dispels  the  darkness  of  the  mind. 
If  virtue  to  the  mind, — so  leading  the  way  to  virtue  shines 

Faith  in  her  purity  :  nothing  can  be  brighter  than  this. 
The  golden  splendour  of  virtue  and  faith,  O  Philip, 

Throwing  out  beamings,  shows  to  thee  paths  to  the  sky. 
This  in  truth  is  the  Sun  of  life,  and  the  one  Light-bringer, 

This  in  truth  the  Moon  which  by  shining  drives  away  night. 
While  in  thy  mind  these  lights  thou  seest  on  high,— of  the  world 

The  darkness  and  terrors  untrembling  thou  dost  behold. 
Sun  and  Moon  and  the  Light-bringer  flash-  light  to  their  orbs, 

And  the  while  on  thee  shine,  too,  virtue  and  faith." 


162  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

But  Plautus,  the  celebrated  comic  poet  of  Rome,  gives  in  his 
Asinaria,  3.  3.  24,  almost  the  very  words  of  the  Spartan  knight : 
Certe  tu  vita  es  mihi, — "  Of  a  truth  thou  art  life  to  me." 

The  introduction  of  an  Ethiop  was  not  unusual  with  Shake- 
speare. In  the  Two  Gentlemen  of  Verona  (act.  ii.  sc.  6.  1.  25, 
vol.  i.  p.  112),  Proteus  avers,-— 

"And  Silvia, — witness  Heaven  that  made  her  fair  ! — 
Shows  Julia  but  a  swarthy  Ethiope  ; " 

and  in  Love's  Laboiir's  Lost  (act.  iv.  sc.  3,  1.  in,  vol.  ii.  p.  144), 
Dumain  reads  these  verses, — 

"Do  not  call  it  sin  in  me, 
That  I  am  forsworn  for  thee  ; 
Thou  for  whom  Jove  would  swear 
Juno  but  an  Ethiope  were." 

A  genius  so  versatile  as  that  of  Shakespeare,  and  capable  of 
creating  almost  a  whole  world  of  imagination  out  of  a  single 
hint,  might  very  easily  accommodate  to  his  own  idea  Reusner's 
suggestive  motto,  and  make  it  yield  the  light  of  love  to  the  lover 
rather  than  to  the  reverend  sage.  Failing  in  identifying  the 
exact  source  of  the  "black  Ethiope  reaching  at  the  sun,"  we 
may  then  not  unreasonably  suppose  that  Shakespeare  himself 
formed  the  device,  and  fitted  the  Latin  to  it. 

In  the  Emblem-books  of  the  sixteenth  and  seventeenth 
centuries,  the  Latin  mottoes  very  greatly  preponderated  over 
those  of  other  languages  ;  and  had  Shakespeare  confined  him- 
self to  Latin,  it  might  remain  doubtful  whether  he  knew  any- 
thing of  Emblem  works  beyond  those  of  our  own  countrymen — 
Barclay  and  Whitney — and  of  the  two  or  three  translations  into 
English  from  Latin,  French,  and  Italian.  But  the  quotation  of 
a  purely  Spanish  motto,  that  on  the  second  knight's  device, 
Piu  por  dulzura  que  por  fuerza, — "  More  by  gentleness  than  by 
force  "  (act  ii.  sc.  2,  1.  27), — shows  that  his  reading  and  observa- 


CHAP.  V.]  IN    THE    PERICLES,  163 

tion  extended  beyond  mere  English  sources,  and  that  with 
other  literary  men  of  his  day  he  had  looked  into,  if  he  had  not 
studied,  the  widely-known  and  very  popular  writings  of  Alciatus 
and  Sambucus  among  Latinists,  of  Francisco  Guzman  and 
Hernando  Soto  among  Spaniards,  of  Gabriel  Faerni  and  Paolo 
Giovio  among  Italians,  and  of  Bartholomew  Aneau  and  Claude 
Paradin  among  the  French. 

Shakespeare  gives  several  snatches  of  French,  as  in  Twelfth 
Night,  act  iii.  sc.  I,  1.  68,  vol.  iii.  p.  265,— 

"  Sir  Andrew.  Dieu  vous  garde,  monsieur, 
Viola.  Et  vous  aussi ;  votre  serviteur  ; " 

and  in  Henry  V.  act  iii.  sc.  4 ;  act  iv.  sc.  4  and  5  ;  act  v.  sc.  2, 
vol.  iv.  pp.  538—540,  574—577,  and  598 — 603  :  in  the  scenes 
between  Katharine  and  Alice  ;  Pistol  and  the  French  soldier 
taken  prisoner;  and  Katharine  and  King  Henry.  Take  the 
last  instance, — 

"  K.  Hen.  Fair  Katharine,  and  most  fair, 

Will  you  vouchsafe  to  teach  a  soldier  terms 
Such  as  will  enter  at  a  lady's  ear 
And  plead  his  love-suit  to  her  gentle  heart  ? 

Kath.  Your  majesty  shall  mock  at  me ;  I  cannot  speak  your  England. 

K.  Hen.  O  fair  Katharine,  if  you  will  love  me  soundly  with  your  French 
heart,  I  will  be  glad  to  hear  you  confess  it  brokenly  with  your  English 
tongue.  Do  you  like  me,  Kate  ? 

Kath.  Pardonnez-moi,  I  cannot  tell  vat  is  '  like  me.' 

K.  Hen.  An  angel  is  like  you,  Kate,  and  you  are  like  an  angel. 

Kath.  Que  dit-il  ?  que  je  suis  semblable  a  les  anges  ? 

Alice.  Oui,  vraiment,  sauf  votre  grace,  ainsi  dit-il. 

K.  Hen.  I  said  so,  dear  Katharine  ;  and  I  must  not  blush  to  affirm  it. 

Kath.  O  bon  Dieu  !  les  langues  des  hommes  sont  pleines  de  tromperies." 

Appropriately  also  to  the  locality  of  the  Taming  of  the 
Shrew  (act  i.  sc.  2,  1.  24,  vol.  iii.  p.  23),  Hortensio's  house  in 
Padua,  is  the  Italian  quotation. 

"  Pet.  *  Con  tutto  il  core  ben  trovato,'  may  I  say. 

Hor.  Alia  nostra  casa  ben  venuto,  molto  honorato,  signer  mio  Petrucio." 


1 64  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

We  find  only  two  Spanish  sentences,  those  already  quoted, — 
one  being  Pistol's  motto  on  his  sword,  Si  fortuna  me  tormenta 
sperato  me  contenta  ;  the  other,  that  of  the  Prince  of  Macedon,  on 
his  shield,  Piu  por  dulzura  que  por  f tier za. 

Similar  proverbs  and  sayings  abound  both  in  Cervantes,  who 
died  in  1616,  the  year  of  Shakespeare's  death,  and  in  the 
Spanish  Emblem-books  of  an  earlier  date.  I  have  very  carefully 
examined  the  Emblems  of  Alciatus,  translated  into  Spanish  in 
1549,  but  the  nearest  approach  to  the  motto  of  the  Prince  of 
Macedon  is,  Que  mas  puede  la  eloquen$ia  que  la  fortaliza  (p.  124), 
— "  Eloquence  rather  than  force  prevails," — which  may  be  taken 
from  Alciat's  iSoth  Emblem,  Eloquentia  fortitudine  prcestantior. 

Other  Spanish  Emblem-books  of  that  day  are  the  Moral 
Emblems  of  Hernando  de  Soto,  published  at  Madrid  in  1599, 
and  Emblems  Moralized,  of  Don  Sebastian  Orozco,  published  in 
the  year  1610,  also  at  Madrid  ;  but  neither  of  these  gives  the 
words  of  the  second  knight's  device.  Nor  are  they  contained 
in  the  Moral  Triumphs,  as  they  are  entitled,  of  Francisco 
Guzman,  published  in  1587,  the  year  after  Whitney's  work 
appeared.  The  Moral  Emblems,  too,  of  Juan  de  Horozco,  are 
without  them, — an  octavo,  published  at  Segovia  in  1589. 

But,  although  there  has  been  no  discovery  of  this  Spanish 
motto  in  a  Spanish  Emblem-book,  the  exact  literal  expression 
of  it  is  found  in  a  French  work  of  extreme  rarity — Corrozet's 
"  HECATOMGRAPHIE,"  Paris,  1540.  There,  at  Emblem  28, 
Plus  par  doulceur  que  par  force* — "  More  by  gentleness  than 
by  force," — is  the  saying  which  introduces  the  old  fable 
of  the  Sun  and  the  Wind,  and  of  their  contest  with  the 

*  Of  cognate  meaning  is  Messin's  motto  in  Boissard's  Emblems,  1588,  pp.  82-3, 
"  Plvs  par  vertv  qve  par  armes," — Phis  virtitte  quant  armis, — the  device  being  a 
tyrant,  with  spearmen  to  guard  him,  but  singeing  his  bearcl  because  he  was  afraid  of 
his  barber,  — 

"  Et  vuyde  d'asseurance,  il  aymoit  fier 

La  fa$on  de  son  poil  au  charbon,  qu'au  barbier. 
Tfint  ('injustice  au  coeur  ente  de  meffiance." 


CHAP.  V.] 


IN    THE    PERICLES. 


165 


travellers.     Appended  are  a  symbolical  woodcut  and  a  French 
stanza, 


Plus  par  doulceur  que  par  force. 


Contre  Ja  froidure  du  vent, 
L'homme  fe  tient  clos  &  fe  ferre, 
Mais  le  Soleil  le  plus  fouuent 
Luy  faift  mettre  fa  robe'  a  terre. 


Corrozet,  1540. 


which    may   be    pretty    accurately   rendered    by   the    English 

quatrain, — 

"  Against  the  wind's  cold  blasts 

Man  draws  his  cloak  around  ; 
But  while  sweet  sunshine  lasts, 
He  leaves  it  on  the  ground." 

This  comment  in  verse  follows  Corrozet's  Emblem, — 

"  Qvand  le  vent  est  fort  &  subit, 
Violent  pour  robe  emporter, 
L'homme  se  serre  en  son  habit, 
Affin  qu'il  ne  luy  puisse  oster. 
Mais  quand  le  Soleil  vient  iecter 
Sur  luy  ses  rays  clers  &  luysantz, 
Le  cauld  le  faict  sans  arrester 
Despouiller  ses  habitz  plaisantz. 

*  Ainsi  amytie'  &  doulceur 
Faict  plus  que  force  &  violence, 
Doulceur  est  d'amour  propre  sceur, 
Qui  rend  Phonime  plein  d'excellence. 
II  ne  fault  doncq  mettr^  en  silence 
Ceste  tres  noble  courtoisie, 

Mais  1'extoller  en  precellence  ; 
Comme'  vne  vertu  bien  choisie. 

*  Homines,  chassez  de  vous  rigueur 
Qui  vostre  grand  beaultd  efface, 
Prenez  de  doulceur  la  vigueur, 

Qui  enrichera  vostre  face. 
Doulceur  ci  bien  meilleure  grace, 
Qui  rend  le  visage'  amoureux, 
Que  d'estre  diet  en  toute  place 
L'oultre  cuide,  fol,  rigoureuz." 


i66 


EMBLEM-BOOK   REFERENCES  [CHAP.  V. 


There  is  a  brief  allusion  to  this  fable  in  King  John  (act  iv. 
sc.  3,  1.  155,  vol.  iv.  p.  76),  in  the  words  of  Philip,  the  half-brother 
of  Faulconbridge, — 

"  Now  happy  he  whose  cloak  and  cincture  can 
Hold  out  this  tempest." 

The  same  fable  is  given  in  Freitag's  "MYTHOLOGIA  ETHICA," 
Antwerp,  1579,  p.  27.  It  is  to  a  very  similar  motto, — 

Moderata  vis  impotenti  violentia  potior, — 


Freitag,  1579. 


"  Moderate  force  more  powerful  than  impotent  violence," — to 
which  are  added,  below  the  woodcut,  two  quotations  from  the 
Holy  Scriptures, — 

"  Non  quia  dominamur  fidei" — 2  Cor.  i.  24. 
"  Foetus  sum  infirmis  infirmus ;  vt  infinites  lucrifaccrem" —  I  Cor.  ix.  22. 

"  Not  that  we  have  dominion  over  your  faith  ;  " 
"  To  the  weak  I  became  as  weak,  that  I  might  gain  the  weak  ; 


CHAP.  V.]  IN    THE    PERICLES.  167 

implying  that  not  by  the  rigid  exercise  of  authority,  but  by  a 
sympathising  spirit,  the  true  faith  will  be  carried  onward  unto 
victory. 

Now,  as  the  motto  of  the  second  knight  existed  in  French, 
and,  as  we  have  seen,  Emblem-books  were  translated  into 
Spanish,  the  supposition  is  justifiable,  though  we  have  failed  to 
trace  out  the  very  fact,  that  the  author  of  the  Pericles — Shake- 
speare, if  you  will — copied  the  words  of  the  motto  from  some 
Spanish  Emblem-book,  or  book  of  proverbs,  that  had  come 
within  his  observation,  and  which  applied  the  saying  to  woman's 
gentleness  subduing  man's  harsher  nature.  Future  inquirers 
will,  perhaps,  clear  up  this  little  mystery,  and  trace  the  very 
work  in  which  the  Spanish  saying  is  original,  Piu  por  dulzura 
que  por  fuerza. 

We  pass  to  the  third,  the  fourth,  and  the  fifth  knights,  with 
their  "  devices  "  and  "  words  ; "  and  to  illustrate  these  we  have 
almost  a  superabundant  wealth  of  emblem-lore,  from  any 
portion  of  which  Shakespeare  may  have  made  his  choice.  His 
materials  may  have  come  from  some  one  of  the  various  editions 
of  Claude  Paradin's,  or  of  Gabriel  Symeoni's  "  DEVISES  HEROI- 
QVES,"  which  appeared  at  Lyons  and  Antwerp,  in  French  and 
Italian,  between  the  years  1557  and  1590;  or,  as  the  learned 
Francis  Douce  supposes,  in  his  Illustrations  of  Shakspere, 
pp.  302,  393,  the  dramatist  may  have  seen  the  English  trans- 
lation <  of  these  authors,  which  was  published  in  London  in 
1591,  or,  with  greater  probability,  as  some  are  inclined  to 
say,  he  may  have  used  the  emblems  of  our  countryman,  Geffrey 
Whitney.  Were  it  not  that  Daniell's  translation,  in  1585,  of  The 
Worthy  Tract  of  Paulus  Jovius  is  without  plates,  we  should 
include  this  in  the  number. 

Of  the  devices  in  question,  Whitney's  volume  contains  two, 
and  the  other  works  the  three  ;  but  between  certain  expressions 


168  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

of  Whitney's  and  those  of  the  Pericles,  the  similarity  is  so  great, 
that  the  evidence  of  circumstance  inclines,  I  may  say  decidedly 
inclines,  to  the  conclusion  that  for  two  out  of  the  three  emblems 
referred  to,  Shakespeare  was  indebted  to  his  fellow  Elizabethan 
poet,  and  not  to  a  foreign  source. 

From  his  use  of  Spanish  and  French  mottoes,  as  well  as 
Latin,  it  is  evident  that  Shakespeare,  no  more  than  Spenser, 
needed  the  aid  of  translations  to  render  the  emblem  treasures 
available  to  himself;  and  if,  as  some  maintain,*  the  Pericles 
was  in  existence  previous  to  the  year  1591,  it  could  not  have 
been  that  use  was  made  of  the  English  translation  of  that  date 
of  the  "  DEVISES  HEROIQVES,"  by  P.  S.  ;  it  remains,  therefore, 
that  for  two  out  of  the  three  emblems  he  must  either  have 
employed  one  of  the  original  editions  of  Lyons  and  of  Antwerp, 
or  have  been  acquainted  with  our  Whitney's  Choice  of  Emblemes, 
and  have  obtained  help  from  them  ;  and  for  the  third  emblem 
he  must  have  gone  to  the  French  or  Italian  originals. 

The  third  knight,  named  of  Antioch,  has  for  his  device 
"  a  wreath  of  chivalry," — 

"  The  word,  Me  pompce  provexit  apex;" — 

(Act  ii.  sc.  2, 1.  30,) 

i.  e.,  "  The  crown  at  the  triumphal  procession  has  carried  me  on- 
ward." On  the  I46th  leaf  of  Paradin's  "DEVISES  HEROIQVES," 
edition  Antwerp,  1562,  the  wreath  and  the  motto  are  exactly  as 
Shakespeare  describes  them.  But  Paradin  gives  a  long  and 

*  See  Penny  Cyclopedia,  vol.  xxi.  p.  343,  where  the  Pericles  and  eight  other  plays 
are  assigned  "to  the  period  from  Shakspere's  early  manhood  to  1591.  Some  of  those 
dramas  may  possibly  then  have  been  created  in  an  imperfect  state,  very  different  from 
that  in  which  we  have  received  them.  If  the  Titles  Andronicus  and  Pericles  are 
Shakspere's,  they  belong  to  this  epoch  in  their  first  state,  whatever  it  might  have 
been."  See  also  Knight's  Pictorial  Shakspere,  supplemental  volume,  p.  119,  where, 
as  before  mentioned,  the  opinion  is  laid  down, — "  We  think'  that  the  Pericles  of  the 
beginning  of  the  seventeenth  century  was  the  revival  of  a  play  written  by  Shakspere 
some  twenty  years  earlier." 


CHAP.  V.] 


IN    THE    PERICLES. 


169 


Me  pompae  prouexit  apex. 


interesting  account  of  the  laurel-wreath,  and  of  the  high  value 

accorded  to  it  in  Roman  estimation.     "  It  was,"  as  that  author 

remarks,     "the    grandest 

recompense,        or        the 

grandest     reward     which 

the       ancient       Romans 

could   think    of    to   offer 

to     the     Chieftains     over 

armies,       to      Emperors, 

Captains,    and    victorious 

Knights." 

To  gratify  the  curio- 
sity which  some  may 
feel  respecting  this  sub- 
ject, I  add  the  whole  of 
the  original.  Paradin,  1562. 

"La  plus  grande  recompense,  ou  plus  grtid  layer  que  les  antiques 
Rommains  estimassent  faire  aus  Chefz  d'armee,  Etnpereurs,  Capitaines,  et 
Cheualiers  victorieux,  c'estoit  de  les  gratifier  &>  honnorer  (selon  toutefois 
leurs  merit es,  estats,  charges,  &>  degrez)  de  certaines  belles  Couronnes :  qui 
generalemet  (a  cette  cause)  furent  apellees  Militaires.  Desquelles  (pour  auoir 
estces  indice  &>  enseignes  de  prouesse  &>  vertii)  les  figures  des  principals  &> 
plus  nobles,  sont  ci  tirees  en  deuises :  tant  a  la  louange  &>  memoire  de 
V antique  noblesse,  que  pareillement  a  la  recreation,  consolation,  &>  esperance 
de  la  moderne,  aspirdt  &*  desirat  aussi  de  paruenir  aus  gages  <Sr*  loyers 
apartenas  &>  dediez  aus  defenseurs  de  la  recommendable  Republique.  La 
premiere  donques  mise  en  reng,  representera  la  Trionfale:  laquelle  estant 
tissue  du  verd  Laurier,  auec  ses  bacques,  estoit  donnee  au  Trionfateur,  auquel 
par  decret  du  Senat,  estoit  licite  de  trionfer  parmi  la  vile  de  Romme,  stir 
cliariot,  conune  victorieus  de  ses  ennemis.  Desquels  neantmoins  lui  comienoit 
deuant  la  pompe,  faire  aparoir  de  la  deffaite,  du  nombre  parfait  de  cinq  mile, 
en  vne  seule  bataille.  La  susdite  Couronne  trionfale,  apres  long  trait  de 
temps  (declinant  r Empire)  fut  commecee  a  estre  meslee,  &  variee  de  Perles 
&>  pierrerie,  6°  puis  entierement  chang^e  de  Laurier  naturel  en  Laurier 
burine,  &>  enleue,  sus  vn  cercle  d°or :  comme  se  void  par  les  Medailles,  de 
plusieurs  monnoyes  antiques^* 


*  It  may  be  mentioned  that  Paradin  describes  five  other  Roman  wreaths  of  honour. 

z 


1 7o  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

Shakespeare  does  not  add  a  single  word  of  explanation, 
or  of  amplification,  which  he  might  be  expected  to  have 
done,  had  he  used  an  English  translation  ;  but  simply, 
and  without  remark,  he  adopts  the  emblem  and  its  motto, 
as  is  natural  to  anyone  who,  though  not  unskilled  in  the 
language  by  which  they  are  expressed,  is  not  perfectly  at 
home  in  it.  / 

Of  chivalry,  however,  he  often  speaks,  —  "  of  chivalrous 
design  of  knightly  trial."  To  Bolingbroke  and  Mowbray  wager 
of  battle  is  appointed  to  decide  their  differences  (Richard  77. 
act  i.  sc.  i,  1.  202,  vol.  iv.  p.  116),  and  the  king  says, — 

"  Since  we  can  not  atone  you,  we  shall  see 
Justice  design  the  victor's  chivalry." 

And  (vol.   iv.    p.    137)  John   of   Gaunt   declares   of    England's 
kings  ;  they  were, — 

"  Renowned  for  their  deeds  as  far  from  home, 
In  Christian  service  and  true  chivalry, 
As  is  the  sepulchre  in  stubborn  Jewry 
Of  the  world's  ransom,  blessed  Mary's  Son." 

But  in  the  case  of  the  fourth  and  fifth  knights,  it  is  not  the 
simple  adoption  of  a  device  which  we  have  to  consider ;  the 
very  ideas,  almost  the  very  phrases  in  which  those  irfeas  were 
clothed,  have  also  been  given,  pointing  out  that  the  Dramatist 
had  before  him  something  more  than  explanations  in  an  un- 
familiar tongue. 

The  device  of  the  fourth  knight  is  both  described  and 
interpreted, — 

"  A  burning  torch  that's  turned  upside  down  ; 
The  word,  Quod  me  alit,  me  extinguit. 
Which  shows,  that  beauty  hath  this  power  and  will, 
Which  can  as  well  inflame  as  it  can  kill." 

Act  ii.  sc.  2,  lines  32 — 35. 


CHAP.  V.I 


IN    THE    PERICLES. 


171 


Thus  presented  in  Symeoni's  "  TETRASTICHI  MORALI,"  edition 
Lyons,  1561,  p.  35,— 

S  I  GN  O  R     D  I     S. 
VALI  E  R. 


Symeoni,  1561  (diminished,  copy], 

An  Italian  stanza  explains  the  device, — 

11  Nutrifce  ilfuoco  a  lut  la  cera  intorno, 

Et  la  cera  Pe/lingue.  o  quantifono,  "  Qui  me  alit, 

Che  dopo  <vn  riceuuto  &  largo  dono,  me  extinguit." 

Dal  don  at  or  riceuon  danno  &fcorno." 

The  sense  of  which  we  now  endeavour  to  give, — 

"  The  wax  here  within  nourishes  the  flames 

And  the  wax  stifles  them  ;  how  many  names        "  Who  nourishes  me, 
Who  after  a  large  gift  and  kindness  shown,  extinguishes  me." 

Get  from  the  giver  harm  and  scorn  alone." 

Symeoni   (from   edition  Lyons,  1574,  p.  200)  adds  this  little 
piece  of  history  : — 

"  In   the  battle  of  the  Swiss,  routed    near  Milan  by  King 


172  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

Francis,  M.  de  Saint  Valier,  the  old  man,  father  of  Madame  the 
Duchess  de  Valentinois,*  and  captain  of  a  hundred  gentlemen 
of  the  king's  house,  bore  a  standard,  whereon  was  painted  a 
lighted  torch  with  the  head  downward,  on  which  flowed  so  much 
wax  as  would  extinguish  it,  with  this  motto  '  Qvi  ME  ALIT,  ME 
EXTINGVIT,'  imitating  the  emblem  of  the  king  his  master ;  that 
is,  'NVTRISCO  ET  EXTINGVO.'  It  is  the  nature  of  the  wax,  which 
is  the  cause  of  the  torch  burning  when  held  upright,  that  with 
the  head  downward  it  should  be  extinguished.  Thus  he  wished 
to  signify,  that  as  the  beauty  of  a  lady  whom  he  loved  nourished 
all  his  thoughts,  so  she  put  him  in  peril  of  his  life.  See  still 
this  standard  in  the  church  of  the  Celestins  at  Lyons." f 

Paradin,  who  confessedly  copies  from  Symeoni,  agrees  very 
nearly  with  this  account,  but  gives  the  name  of  the  Duchess 
"  Diane  de  Poitiers,"  and  omits  mentioning  "  the  emblem  of  the 
king." 

As  stated  in  the  fac-simile  Reprint  of  Whitney's  Emblemes, 
p.  302,  Douce  in  his  Illustrations  of  Shakespeare,  pp.  302,  393, 
advances  the  opinion  that  the  translation  of  Paradin  into 
English,  1591,  by  P.  S.,  was  the  source  of  Shakespeare's  torch- 
emblem  ;  "  but  it  is  very  note-worthy  that  the  torch  in  the 
English  translation  is  not  a  torch  '  that's  turned  upside  down,' 
but  one  held  uninverted,  with  the  flame  naturally  ascending. 
This  contrariety  to  Shakespeare's  description  seems  fatal  there- 

*  Symeoni,  in  1559,  dedicated  "All'  Illustrissima  Signora  Duchessa  di  Valen- 
tinois," his  "VITA  ET  METAMORFOSEO  D'OVIDIO,"  8vo,  containing  187  pages  of 
devices,  with  beautiful  borders. 

T  "  Nella  giornata  de  Suizzeri,  rotti  presso  a  Milano  dal  Re  Francesco,  Monsignor 
di  San  Valicre  il  Vecchio,  padre  di  Madama  la  Duchessa  di  Valentinoys,  e  Capitano  di 
cento  GentiV  huomini  della  Casa  del  Re,  portb  vno  Stendardo,  nel  qiiale  era  dipinto  vn 
torchio  acceso  con  la  testa  in  giu,  sulla  quale  colaua  tanta  cera,  che  qitasi  li  spegnena, 
con  queste  parole,  Qvi  ME  ALIT,  ME  EXTINGVIT,  imitando  Fimpresa  del  Re  suo 
Padrone:  doe,  NvTRisco  ET  EXTINGVO.  E  la  natitra  della  cera,  la  quale  t  cagione 
che  7  torchio  abbrucia  stando  ritto,  che  col  capo  in  giu  si  spegne:  volendo  per  rib  signifi- 
care,  che  come  la  bellezza  d'vna  Donna,  che  egli  amaua,  mitriua  tutti  i  suoi  pensieri, 
cosi  lo  metteua  in  pericolo  della  vita.  Vedesi  anchora  questo  stendardo  nella  Chiesa  de 
Celestini  In  Lyone." 


CHAP.  V.] 


IN   THE    PERICLES. 


173 


fore   to    the   translator's   claim."     P.   S.,  however,    renders   the 
motto,  "  He  that  nourisheth  me,  killeth  me  ;  "  and  so  may  put 
in  a  claim  to  the  sugges- 
tion of  the  line,  —  Qui  me  alit,  me  extinguit. 

"  Which  can  as  well  inflame 
as  it  can  kill." 

Let  us  next  take 
Whitney's  stanza  of  six 
lines  to  the  same  motto 
and  the  same  device, 
p.  183  ;  premising  that 
the  very  same  wood- 
block appears  to  have 
been  used  for  the  Pa- 
radin in  1562,  and  for 
the  Whitney  in  1586. 


.Paradin,  1562. 


"  EVEN  as  the  waxe  dothe  feede,  and  quenche  the  flame, 
So,  loue  giues  life  ;  and  loue,  dispaire  doth  giue  : 
The  godlie  loue,  doth  louers  croune  with  fame  : 
The  wicked  loue,  in  shame  dothe  make  them  hue. 
Then  leaue  to  loue,  or  loue  as  reason  will, 
For,  louers  lewde  doe  vainlie  languishe  still." 

Now,  comparing  together  Symeoni,  Paradin,  Whitney,  and 
Shakespeare,  as  explanatory  of  the  fourth  knight's  emblem,  we 
can  scarcely  fail  to  perceive  in  the  Pericles  a  closer  resemblance, 
both  of  thought  and  expression,  to  Whitney  than  to  the  other 
two.  Whitney  wrote,  — 

"  So,  loue  giues  life  ;  and  loue,  dispaire  doth  giue," 

which  the  Pericles  thus  amplifies  : 

"  Which  shows,  that  beauty  hath  this  power  and  will, 
Which  can  as  well  inflame  as  it  can  kill." 


We  conclude,  therefore,  from  this  instance,  that  Whitney's 


174  EMBLEM-BOOK    REFERENCES  [CHAP.  V. 

Choice  of  Emblemes  was  known  to  the  author  of  the  Pericles,  and 
that  in  this  instance  he  has  simply  carried  out  the  idea  which 
was  there  suggested  to  him. 

A  slight  allusion  to  this  same  device  of  the  burning  torch  is 
made  in  3  Henry  VI.  (act  iii.  sc.  2,  1.  51,  vol.  v.  p.  281),  when 
Clarence  remarks, — 

"  As  red  as  fire  !  nay,  then  her  wax  must  melt ; " 

but  a  very  distinct  one  in  Hamlet's  words  (act  iii.  sc.  4,  1.  82, 
vol.  viii.  p.  112), — 

"  O  shame  !  where  is  thy  blush  ?     Rebellious  hell, 
If  thou  canst  mutine  in  a  matron's  bones, 
To  flaming  youth  let  virtue  be  as  wax 
And  melt  in  her  own  fire  ;  proclaim  no  shame 
When  the  compulsive  ardour  gives  the  charge, 
Since  frost  itself  as  actively  doth  burn, 
And  reason  panders  will." 

The  "AMORVM  EMBLEMA.TAj'—JSm&lemes  of  Lone,— with 
verses  in  Latin,  English,  and  Italian  :  4to,  Antverpiae,  M.DC.IIX., 
gives  the  same  variation  in  the  reading  of  the  motto  as  Shake- 
speare does,  namely,  "  Quod  "  for  "  Qui  ; "  and  as  Daniell  had 
done  in  The  Worthy  Tract  of  Paulus  Joidns,  in  1585,  by  sub- 
stituting "  Quod  me  alit"  for  "  Qui  me  alit"*  The  latter  is  the 
reading  in  Paulus  Jovius  himself, — and  is  also  found  in  some  of 
Mhe  early  editions  of  this  play.  (See  Cambridge  Shakespeare, 
vol.  ix.  p.  343.)  The  Amornm  Emblemata,  by  Otho  Vaenius, 
named  above,  and  dated  1608 — one  year  before  "PERICLES, 
PRINCE  OF  TYRE,"  was  first  pulished,  in  quarto — has  the  Latin 
motto,  "  QVOD  NVTRIT,  EXTINGVIT,"  Englished  and  Italianised 
as  follows : 


*  See  Essays  Literary  and  Bibliographical,  pp.  301-2,  and  311,  in  the  Fac-simile 
Reprint  of  Whitney's  Emblemes,  1866. 


CHAP.  V.] 


IN   THE    PERICLES. 


"  Loue  killed  by  his  owne  nouriture." 
"  The  torche  is  by  the  wax  maintayned  whyle  it  burnes, 
But  turned  vpsyde-down  it  straight  goes  out  &  dyes, 
Right  so  by  Cupids  heat  the  louer  lyues  lykewyse, 
But  thereby  is  hee  kild,  when  it  contrarie  turnes." 

"  Ouel  che  nutre,  estingue." 
"  Nutre  la  cera  ilfoco,  e  ne  lo  priua 
Quando  }  riuolto  in  giu :  d'Amor  P  ardor  e 
Nutre  e  sfare  FAmante  in  vn  calore, 
Contrario  effetto  vn  sol suggetto  attiita" 

At  a  much  earlier  date,  1540,  Corrozet's  Hecatomgraphie 
gives  the  inverted  torch  as  a  device,  with  the  motto,  "  Mauluaise 
nourriture," — 

"  Quelcun  en  prenant  ses  esbatz 
M'ainsi  mise  contrebas 
La  cire  le  feu  nourrissant 
L'estainct  &  le  faict  perissant." 

But  the  "  device  "  and  "  the  word  "  of  the  fifth  knight,— 


DEVISES 

Sic  fpeftanda  fides. 


"  An   hand  environed 
with  clouds, 
Holding    out    gold    that's   by  the 

touchstone  tried  ; 

The  motto  thus,  Sic  spectanda fides? 
(Act  ii.  sc.  2,  lines  36 — 38,) 

"  So  is  fidelity  to  be  Droved," 
— occur  most  exactly  in  Para- 
din's  "DEVISES  HEROIQUES," 
edition  1562,  leaf  100,  reverse; 
they  are  here  figured. 

Paradin  often  presents  an 
account    of    the    origin    and 
appropriation  of  his  emblems, 
but,   in   this  instance,   he    offers   only  an  application.      "If,   in 
order  to  prove  fine  gold,  or  other  metals,  we  bring  them  to  the 


Paradin,  1562. 


1 76  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

touch,  without  trusting  to  their  glitter  or  their  sound  ; — so,  to 
recognise  good  people  and  persons  of  virtue,  it  is  needful  to 
observe  the  splendour  of  their  deeds,  without  dwelling  upon  their 
mere  talk."  * 

The  narrative  which  Paradin  neglects  to  give  may  be  sup- 
plied from  other  sources.  This  Emblem  or  Symbol  is,  in  fact, 
that  which  was  appropriated  to  Francis  I.  and  Francis  II.,  kings 
of  France  from  1515  to  1560,  and  also  to  one  of  the  Henries— 
probably  Henry  IV.  The  inscription  on  the  coin,  according  to 
Paradin  and  Whitney's  woodcut,  is  "  FRANCISCVS  DEI  GRATIA 
FRAN.  REX  ; "  this  is  for  Francis  I.  ;  but  in  the  Hierographia 
Regvm  Francorvm  t  (vol.  i.  pp.  87  and  88),  the  emblem  is 
inscribed,  "  Franciscus  II.  Valesius  Rex  Francorum  XXV. 
Christianissimus."  A  device  similar  to  Paradin's  then  follows, 
and  the  comment,  Coronation  aurenm  minimum,  ad  Lydiiim 
lapidem  dextra  hcec  explicat  &  sic,  id  est,  duris  in  rebus  fidem 
explorandam  docet, — "  This  right  hand  extends  to  the  Lydian 
stone  a  coin  of  gold  which  is  wreathed  around,  and  so  teaches  that 
fidelity  in  times  of  difficulty  is  put  to  the  proof."  The  coin  applied 
to  the  touchstone  bears  the  inscription,  "  FRANCISCVS  II.  FRAN- 
CORV.  REX."  An  original  drawing,  \  by  Crispin  de  Passe,  in  the 
possession  of  Sir  William  Stirling  Maxwell,  Bart.,  of  Keir, 
presents  the  inscription  in  another  form,  "  HENRICVS,  D.  G. 
FRANCORV.  REX."  The  first  work  of  Crispin  de  Passe  is  dated 
1589,  and  Henry  IV.  was  recognised  king  of  France  in  1593. 
His  portrait,  and  that  of  his  queen,  Mary  of  Medicis,  were 


*  "  Si  pour  esprouuer  la  fin  Or,  ou  autre  metaus,  Ion  les  raporte  sus  la  Touche, 
sans  git* on  se  confie  de  leurs  tintemens,  ou  de  leurs  sons,  aussi  pour  connoitre  les  gens  de 
bien,  &>  vertueus  personnages,  se  faut  prendre  garde  a  la  splendeur  de  leurs  ceuures,  sans 
s"1  arrester  au  babil" 

t  See  Symbola  Diuina  &  Humana  Pontificvm,  Imperatorvm,  Regvm,  3  vols.  folio 
in  one,  Franckfort,  1652. 

J  This  original  drawing,  with  thirty-four  others  by  the  same  artist,  first  appeared 
in  Emblemata  Selectiora,  4to,  Amsterdam,  1704;  also  in  Acht-en-Dertig  Konstige 
Zinnebcdden, — "  Eight-and-thirty  Artistic  Emblems,"— 4to,  Amsterdam,  1737. 


CHAP.  V.] 


IN    THE    PERICLES. 


177 


painted  by  De  Passe ;    and  so  the   Henry  on  the  coin  in  the 
drawing  above  alluded  to  was  Henry  of  Navarre. 

The  whole  number  of  original  drawings  at  Keir,  by  Crispin 
de  Passe,  is  thirty-five,  of  the  size  of  the  following  plate, — No  27 
of  the  series. 


Crispin  de  Passe,  about  1595.* 


The  mottoes  in  Emblemata  Selectiora  are, — 

"  PECUNIA  SANGUIS  ET  ANIMA  MORTALIUM. 

Quidquid  habet  mundus,  regina  Pecunia  vincit, 
Fulmineoque  ictu  fortius  una  ferit." 

"'T  GELD  VERMAG  ALLES. 

't  Geld  houd  den  krygsknecht  in  zyn  plichten, 
Kan  meer  dan't  dondertuig  nit  richten." 


*  Or  it  may  be  a  few  years  later.     The  drawings,  however,  aro  undoubted  from 
which  the  above  woodcut  has  been  executed. 


i73  EMBLEM-BOOK   REFERENCES  [CHAP.  V. 

"  MONEY  THE  BLOOD  AND  LIFE  OF  MEN. 
Whatever  the  world  possesses,  money  rules  as  queen, 

And  more  strongly  than  by  lightning's  force  smites  together." 

"  MONEY  CAN  DO  EVERYTHING. 
To  his  duty  the  warrior,  'tis  money  can  hold, — 
Than  the  thunderbolt  greater  the  influence  of  gold." 

Very  singular  is  the  correspondence  of  the  last  two  mottoes 
to  a  scene  in  Timon  of  Athens  (act  iv.  sc.  3,  lines  25,  377,  vol.  vii. 
pp.  269,  283).  Timon  digging  in  the  wood  finds  gold,  and  asks, — 

"What  is  here? 
Gold  !  yellow,  glittering,  precious  gold  ! " 

and  afterwards,  when  looking  on  the  gold,  he  thus  addresses  it, — 

"  O  thou  sweet  king-killer,  and  dear  divorce 
'Twixt  natural  son  and  sire  !  thou  bright  defiler 
Of  Hymen's  purest  bed  !  thou  valiant  Mars  ! 
Thou  ever  young,  fresh,  loved,  and  delicate  wooer, 
Whose  blush  doth  thaw  the  consecrated  snow 
That  lies  on  Dian's  lap  !  thou  visible  god, 
That  solder'st  close  impossibilities, 

And  makest  them  kiss  !  that  speak'st  with  every  tongue, 
To  every  purpose  !     O  thou  touch  of  hearts  ! 
Think,  thy  slave  man  rebels  ;  and  by  thy  virtue 
Set  them  into  confounding  odds,  that  beasts 
May  have  the  world  in  empire  ! " 

Thev  Emblem  which  Shakespeare  attributes  to  the  fifth  knight 
is  fully  described  by  Whitney  (p.  139),  with  the  same  device  and 
the  same  motto,  Sic  spectanda fides* — 

"  /~T*HE  touche  doth  trye,  the  fine,  and  purest  goulde  : 

•*•       And  not  the  sound,  or  els  the  goodly  showe. 
So,  if  mennes  wayes,  and  vertues,  wee  behoulde, 
The  worthy  men,  wee  by  their  workes,  shall  knowe. 
But  gallant  lookes,  and  outward  showes  beguile, 
And  ofte  are  clokes  to  cogitacions  vile." 

*  This  Emblem  is  dedicated  to  "GEORGE  MANWARINGE  Esquier"  son  of 
"Sir  Arthvre  Menwerynge,"  "of  Ichtfeild,"  in  Shropshire,  from  whom  are  directly 
descended  the  Mainwarings  of  Oteley  Park,  Ellesmere,  and  indirectly  the  Main- 
warings  of  Over-Peover,  Cheshire. 


CHAP.  V.]  IN    THE    PERICLES. 


179 


If,  in  the  use  of  this  device,  and  in  their  observations  upon  it, 
Paradin,  either  in  the  original  or  in  the  English  version,  and 
Whitney  be  compared  with  the  lines  on  the  subject  in  Pericles, 
it  will  be  seen  "that  Shakespeare  did  not  derive  his  fifth  knight's 
device  either  from  the  French  emblem  or  from  its  English 
translator,  but  from  the  English  Whitney  which  had  been 
lately  published.  Indeed,  if  Pericles  were  written,  as  Knight 
conjectures,  in  Shakespeare's  early  manhood,  previous  to  the 
year  1591,  it  could  not  be  the  English  translation  of  Paradin 
which  furnished  him  with  the  three  mottoes  and  devices  of  the 
Triumph  Scene." 

To  the  motto,  "  AMOR  CERTVS  IN  RE  INCERTA  CERNITVR," 
— Certain  love  is  seen  in  an  uncertain  matter, — Otho  Vaenius,  in 
his  Amorum  Emblemata,  4to,  Antwerp,  1608,  represents  two 
Cupids  at  work,  one  trying  gold  in  the  furnace,  the  other  on  the 
touchstone.  His  stanzas,  published  with  an  English  translation, 
as  if  intended  for  circulation  in  England,  may,  as  we  have  con- 
jectured, have  been  seen  by  Shakespeare  before  1609,  when  the 
Pericles  was  revived.  They  are  to  the  above  motto, — 

"  Nummi  vt  adulterium  exploras  prius  indice,  quam  sit 

Illo  opus :  haud  aliter  rite  probandus  Amor. 
Scilicet  vt  fuluinm  spectatur  in  ignibus  aurum  : 
Temp  ore  sic  diiro  est  inspicienda  fides." 

"  Loues  triall. 

As  gold  is  by  the  fyre,  and  by  the  fournace  tryde, 
And  thereby  rightly  known  if  it  be  bad  or  good, 
Hard  fortune  and  distresse  do  make  it  vnderstood, 
Where  true  loue  doth  remayn,  and  fayned  loue  resyde." 

"  Come  1'oro  nel  foco. 

Su  la  pietra,  e  nel  foco  For  si  pro u a, 
E  nel  bisogno,  come  I'or  nel  foco, 
Si  dee  mostrar  leale  in  ogni  loco 

rAjnante;  e  alhor  si  vee  d'Amor  la  proua." 


i8o  EMBLEM-BOOK    REFERENCES  [CHAP.  V. 

The  same  metaphor  of  attesting  characters,  as  gold  is  proved 
by  the  touchstone  or  by  the  furnace,  is  of  frequent  occurrence  in 
Shakespeare's  undoubted  plays  ;  and  sometimes  the  turn  of  the 
thought  is  so  like  Whitney's  as  to  give  good  warrant  for  the 
supposition,  either  of  a  common  original,  or  that  Shakespeare  had 
read  the  Emblems  of  our  Cheshire  poet  and  made  use  of  them. 

King  Richard  III.  says  to  Buckingham  (act  iv.  sc.  2,  1.  8, 
vol.  v.  p.  580),— 

u  O  Buckingham,  now  do  I  play  the  touch, 
To  try  if  thou  be  current  gold  indeed." 

And  in  Timon  of  Athens  (act  iii.  sc.  3,  1.  I,  vol.  vii.  p.  245),  when 
Sempronius  observes  to  a  servant  of  Timon's, — 

"  Must  he  needs  trouble  me  in't, — hum  ! — 'bove  all  others  ? 
He  might  have  tried  Lord  Lucius  and  Lucullus  ; 
And  now  Ventidius  is  wealthy  too, 
Whom  he  redeem'd  from  prison  :  all  these 
Owe  their  estates  unto  him." 

The  servant  immediately  replies, — 

"  My  lord, 

They  have  all  been  touch'd  and  found  base  metal,  for 
They  have  all  denied  him." 

Isabella,  too,  in  Measure  for  Measure  (act  ii.  sc.  2,  1.  149, 
vol.  i.  p.  324),  most  movingly  declares  her  purpose  to  bribe 
Angelo,  the  lord-deputy, — 

"  Not  with  fond  shekels  of  the  tested  gold, 
Or  stones  whose  rates  are  either  rich  or  poor 
As  fancy  values  them ;  but  with  true  prayers 
That  shall  be  up  at  heaven  and  enter  there 
Ere  sun-rise,  prayers  from  preserved  souls, 
From  fasting  maids  whose  minds  are  dedicate 
To  nothing  temporal." 

In  the  dialogue  from  King  John  (act  iii.  sc.  I,  1.  96,  vol.  iv. 
p.  37)  between  Philip  of  France  and  Constance,  the  same  testing 
is  alluded  to.  King  Philip  says, — 


CHAP.  V.]  IN    THE    PERICLES.  181 

"  By  heaven,  lady,  you  shall  have  no  cause 
To  curse  the  fair  proceedings  of  this  day  : 
Have  I  not  pawn'd  to  you  my  majesty? " 

But  Constance  answers  with  great  seventy, — 

"  You  have  beguiled  me  with  a  counterfeit 
Resembling  majesty,  which  being  touch'd  and  tried, 
Proves  valueless  :  you  are  forsworn,  forsworn." 

One  instance  more  shall  close  the  subject  ; — it  is  from  the 
Coriolanus  (act  iv.  sc.  I,  1.  44,  vol.  vi.  p.  369),  and  contains  a  very 
fine  allusion  to  the  testing  of  true  metal  ;  the  noble  traitor  is 
addressing  his  mother  Volumnia,  his  wife  Virgilia,  and  others  of 

his  kindred, — 

"  Fare  ye  well : 

Thou  hast  years  upon  thee ;  and  thou  art  too  full 
Of  the  wars'  surfeits,  to  go  rove  with  one 
That's  yet  unbruised  :  bring  me  but  out  at  gate. 
Come,  my  sweet  wife,  my  dearest  mother,  and 
My  friends  of  noble  touch,  when  I  am  forth, 
Bid  me  farewell,  and  smile." 

So  beautifully  and  so  variously  does  the  great  dramatist  carry 
out  that  one  thought  of  making  trial  of  men's  hearts  and  cha- 
racters to  learn  the  metal  of  which  they  are  made. 

To  finish  our  notices  and  illustrations  of  the  Triumph  Scene  in 
Pericles,  there  remain  to  be  considered  the  device  and  the  motto 
of  the  sixth — the  stranger  knight — who  "with  such  a  graceful 
courtesy  delivered," — 

"  A  wither'd  branch,  that's  only  green  at  top,* 
The  motto,  /;/  hac  spe  vivo;"  (^  ^  ^  ^  Hnes  ^  ^ 

and  on  which  the  remark  is  made  by  Simonides,— 

"  A  pretty  moral  : 

From  the  dejected  state  wherein  he  is, 
He  hopes  by  you  his  fortune  yet  may  flourish." 

*  The  phrase  is  matched  by  another  in  Much  Ado  abotit  Nothing  (act  ii.  sc.  I,  1.  214, 
vol.  ii.  p.  22),  when  Benedict  said  of  the  Lady  Beatrice,  "  O,  she  misused  me  past  en- 
durance of  a  block  !  an  oak  but  with  one  green  leaf  on  it  would  have  answered  her." 


182 


EMBLEM-BOOK   REFERENCES 


[CHAP.  V. 


llllcitum  non  fperandum. 


With  these  I  have  found  nothing  identical  in  any  of  the 
various  books  of  Emblems  which  I  have  examined  ;  indeed,  I 
cannot  say  that  I  have  met  with  anything  similar.  The  sixth 
knight's  emblem  is  very  simple,  natural,  and  appropriate  ;  and  I 
am  most  of  all  disposed  to  regard  it  as  invented  by  Shakespeare 
himself  to  complete  a  scene,  the  greater  part  of  which  had  been 
accommodated  from  other  writers. 

Yet  the  sixth  device  and  motto  need  not  remain  without  illus- 
tration. Hope  is  a  theme  which  Emblematists  could  not  possibly 
omit.  Alciatus  gives  a  series  of  four  Emblems  on  this  virtue, — 
Emblems  43,  44,  45,  and  46 ;  Sambucus,  three,  with  the  mottoes 

"  Spes  certa,"  "  In  spe  for- 
titude," and  "Spes  a'ulica;" 
and  Whitney,  three  from 
Alciatus  (pp.  53,  137,  and 
139) ;  but  none  of  these  can 
be  accepted  as  a  proper 
illustration  of  the  /;/  hac 
spe  vivo.  Their  inapplica- 
bility may  be  judged  of 
from  Alciat's  46th  Emblem, 
very  closely  followed  by 
Whitney  (p.  139). 

In  the  spirit,  however, 
if  not  in  the  words  of  the 
sixth  knight's  device,  the 
Emblem  writers  have  fa- 
shioned their  thoughts. 
From  Paradin's  "  DEVISES 
HEROIQVES,"  so  often 
quoted,  we  select  two  de- 
vices (fol.  30  and  152)  illustrative  of  our  subject  The  one,  an 
arrow  issuing  from  a  tomb,  on  which  is  the  sign  of  the  cross, 


SPES  fimul  &  Nemefis  noflris  altaribus 

adfunt, 
Scilicet  <vtfperes  non  nijl  quod  liceat." 

The  unlawful  thing  not  to  be  hoped  for. 
"  T  T  ERE  NEMESIS,  and  Hope  :  our 
-*-  **   deedes  doe  rightlie  trie, 
Which  warnes  vs,  not  to  hope  for 
that,  which  iustice  doth  denie." 


CHAP.  V.] 


IN    THE    PERICLES. 


183 


and  having  verdant  shoots  twined  around  it,  was  the  emblem 
which  Madame  Diana  of  Poitiers  adopted  to  express  her 
strong  hope  of  a  resurrection  from  the  dead;*  and  the  same 
hope  is  also  shadowed  forth  by  ears  of  corn  growing  out  of 
a  collection  of  dry  bones,  and  ripening  and  shedding  their  seed. 

The  first,  Sola  vinit  in 
illo, — "  Alone  on  that/'  i.e., 
on  the  cross,  "  she  lives," — 
we  now  offer  with  Paradin's 
explanation  ;  "  L'esperance 
que  Madame  Diane  de  Poi- 
tiers Illustre  Duchesse  de 
Valentinois,  a  de  la  resur- 
rection, &  que  son  noble 
esprit,  contemplant  les  dens 
en  cette  vie,  paruiendra  en 
Vautre  aprh  la  mort :  est 
possible  signifie  par  sa  Dc- 
nisc,  qui  est  d'vn  Scrcucil, 
on  tombcan,  dnqncl  sort  vn 
trait,  acompagne  de  certains 

syons  verdoyans"  i.e., — "  The  hope  which  Madame  Diana  of 
Poitiers,  the  illustrious  Duchess  de  Valentinois,  has  of  the  resur- 
rection, and  which  her  noble  spirit,  contemplating  the  heavens 
in  this  life,  will  arrive  at  in  the  other,  after  death  :  it  is  really 
signified  by  her  Device,  which  is  a  Sepulchre  or  tomb,  from 
which  issues  an  arrow,  accompanied  by  certain  verdant  shoots." 

The  motto  of  the  second  is  more  directly  to  the  purpose,  Spcs 
altcra  vitce, — "  Another  hope  of  life,"  or  "  The  hope  of  another 

*  "  The  sixth  device,"  say  the  Illustrations  of  Shakespeare,  by  Francis  Douce, 
vol.  ii.  p.  127,  "from  its  peculiar  reference  to  the  situation  of  Pericles,  may,  perhaps, 
have  been  altered  from  one  in  the  same  collection  (Paradin's),  used  by  Diana  of 
Poictiers.  It  is  a  green  branch  springing  from  a  tomb,  with  the  motto,  '  SOLA  VIVIT 
IN  ILLO,'  " — Alone  on  that  she  lives. 


Farad  in,  1562. 


i84 


EMBLEM-BOOK   REFERENCES 


[CHAP.  V. 


life," — and  its  application  is  thus  explained  by  Paradin  (leaf  151 
reverse), — "  Les  grains  des  Bleds,  &  autres  herbages,  semees  & 
mortifiees  en  terre,  se  reuerdoyent,  & prennent  nouuel  accroissement: 
aussi  les  corps  humains  tonibas  par  Mort,  seront  releves  en  gloire, 
par  generate  resurrection'' — i.e.,  " The  seeds  of  wheat,  and  other 
herbs,  sown  and  dying  in  the  ground,  become  green  again,  and 
take  new  growth  :  so  human  bodies  cast  down  by  Death  will  be 
raised  again  in  glory,  by  the  general  resurrection." 

We  omit  the  woodcut  which  Paradin  gives,  and  substitute  for 
it  the  looth  Emblem,  part  i.  p.  102,  from  Joachim  Camerarius, 
edition,  1595,  which  bears  the  very  same  motto  and  device. 

SPES  ALTERA 


Camerarius,  1595. 

"  Securus  moritur,  qui  stit  se  morte  renasci . 
Non  ea  mors  did,  sed  noua  vita  potest" 

"  Fearless  doth  that  man  die,  who  knows 

From  death  he  again  shall  be  born  ; 
We  never  can  name  it  as  death, — 
'Tis  new  life  on  eternity's  morn." 


CHAP.  V.]  IN    THE    PERICLES.  185 

A  sentence  or  two  from  the  comment  may  serve  for  explana- 
tion ;  "  The  seeds  and  grains  of  fruits  and  herbs  are  thrown 
upon  the  earth,  and  as  it  were  entrusted  to  it ;  after  a  certain 
time  they  spring  up  again  and  produce  manifold.  So  also  our 
bodies,  although  already  dead,  and  destined  to  burial  in  the 
earth,  yet  at  the  last  day  shall  arise,  the  good  to  life,  the  wicked 
to  judgment."  ..."  Elsewhere  it  is  said,  ONE  HOPE  SURVIVES, 
doubtless  beyond  the  grave."  * 

"  MORT  VIVIFIANTE,"  of  Messin,  In  Morte  Vita,  of  Boissard, 
edition  1588,  pp.  38,  39,  also  receive  their  emblematical  repre- 
sentation, from  wheat  growing  among  the  signs  of  death. 

"  En  vain  nous  attendons  la  moisson,  si  le  grain 
Ne  se  pourrit  au  creux  de  la  terre  besche'e. 
Sans  la  corruption,  la  nature  empesche'e 
Retient  toute  semence  au  ventre  soubterrain." 

At  present  we  must  be  content  to  say  that  the  source  of  the 
motto  and  device  of  the  sixth  knight  has  not  been  discovered. 
It  remains  for  us  to  conjecture,  what  is  very  far  from  being  an 
improbability,  that  Shakespeare  had  read  Spenser's  Shepherd's 
Calendar,  published  in  1579,  and  from  the  line,  on  page  364  of 
Moxon's  edition,  for  January  (1.  54), — 

"  Ah,  God  !  that  love  should  breed  both  ioy  and  paine  !  "- 

and  from  the  Emblem,  as  Spenser  names  it,  Anchora  speme, — 
"  Hope  is  my  anchor," — did  invent  for  himself  the  sixth  knight's 
device,  and  its  motto,  In  hac  spe  vivo, — "  In  this  hope  I  live." 
The  step  from  applying  so  suitably  the  Emblems  of  other 
writers  to  the  construction  of  new  ones  would  not  be  great ;  and 

*  "  T~*RVMENTORVM  ac  leguminum  semina  ac  grana  in  terrain  projecta,  ac  illi 

A      quasi  concredita,  certo  tempore  renascuntur,  atqtie  imiltiplices  fructus  pro- 

ducunt.      Sic   nostra    etiam    corpora,    qtiamvis  jam    mortua,    ac  terrestri    sepulture 

destinata,  in  die  tamen  ultima  resurgent,  &>  piorum  quidem  ad  vitam,  impiorum  vero 

ad  jndicium"  .   .   .    "  Alibi  legitur,  SPES  VNA  SVPERSTES,  nimirum  post  funns. " 

B  B 


186  EMBLEM-BOOK    REFERENCES.  [CHAP.  V. 

from  what  he  has  actually  done  in  the  invention  of  Emblems  in 
the  Merchant  of  Venice  he  would  experience  very  little  trouble 
in  contriving  any  Emblem  that  he  needed  for  the  completion  of 
his  dramatic  plans. 

The  Casket  Scene  and  the  TriumpJi  Scene  then  justify  our 
conclusion  that  the  correspondencies  between  Shakespeare  and 
the  Emblem  writers  which  preceded  him  are  very  direct  and 
complete.  It  is  to  be  accepted  as  a  fact  that  he  was  acquainted 
with  their  works,  and  profited  so  much  from  them,  as  to  be  able, 
whenever  the  occasion  demanded,  to  invent  and  most  fittingly 
illustrate  devices  of  his  own.  The  spirit  of  Alciat  was  upon 
him,  and  in  the  power  of  that  spirit  he  pictured  forth  the  ideas 
to  which  his  fancy  had  given  birth. 


Horapollo,  ed.  1551. 


CHAP.  VI.]  CLASSIFICATION. 


CHAPTER   VI. 

CLASSIFICATION  OF  THE  CORRESPONDENCIES  AND 
PARALLELISMS  OF  SHAKESPEARE  WITH  EMBLEM 
WRITERS. 

IAVING  established  the  facts  that  Shakespeare 
invented  and  described  Emblems  of  his  own, 
and  that  he  plainly  and  palpably  adopted 
several  which  had  been  designed  by  earlier 
authors,  we  may  now,  with  more  consistency,  enter  on  the 
further  labour  of  endeavouring  to  trace  to  their  original 
sources  the  various  hints  and  allusions,  be  they  more  or  less 
express,  which  his  sonnets  and  dramas  contain  in  reference 
to  Emblem  literature.  And  we  may  bear  in  mind  that  we 
are  not  now  proceeding  on  mere  conjecture ;  we  have  dug 
into  the  virgin  soil  and  have  found  gold  that  can  bear 
every  test,  and  may  reasonably  expect,  as  we  continue  our 
industry,  to  find  a  nugget  here  and  a  nugget  there  to  reward 
our  toil. 

But  the  correspondencies  and  parallelisms  existing  in 
Shakespeare  between  himself  and  the  earlier  Emblematists 
are  so  numerous,  that  it  becomes  requisite  to  adopt  some 
system  of  arrangement,  or  of  classification,  lest  a  mere  chaos 
of  confusion  and  not  the  symmetry  of  order  should  reign 
over  our  enterprise.  And  as  "  all  Emblemes  for  the  most 
part,"  says  Whitney  to  his  readers,  "  maie  be  reduced  into 
these  three  kindes,  which  is  Historical^  Natural^  &  Morall? 


i88  CLASSIFICATION.  [CHAP.  VI. 

we  shall  make  that  division  of  his  our  foundation,  and  con- 
sidering the  various  instances  of  imitation  or  of  adaptation 
to  be  met  with  in  Shakespeare,  shall  arrange  them  under  the 
eight  heads  of — I,  Historical  Emblems  ;  2,  Heraldic  Emblems  ; 
3,  Emblems  of  Mythological  Characters ;  4,  Emblems  illus- 
trative of  Fables  ;  5,  Emblems  in  connexion  with  Proverbs  ; 
6,  Emblems  from  Facts  in  Nature,  and  from  the  Properties  of 
Animals  ;  7,  Emblems  for  Poetic  Ideas  ;  and  8,  Moral  and 
^Esthetic,  and  Miscellaneous  Emblems. 


SECTION    I. 

HISTORICAL    EMBLEMS. 

S  SOON  as  learning  revived  in  Europe,  the  great 
models  of  ancient  times  were  again  set  up  on 
their  pedestals  for  admiration  and  for  guid- 
ance. Nearly  all  the  Elizabethan  authors, 
certainly  those  of  highest  fame,  very  frequently  introduce,  or 
expatiate  upon,  the  worthies  of  Greece  and  Rome, — both 
those  which  are  named  in  the  epic  poems  of  Homer  and 
Virgil,  and  those  which  are  within  the  limits  of  authentic 
history.  It  seemed  enough  to  awaken  interest,  "  to  point 
a  moral,  or  adorn  a  tale,"  that  there  existed  a  record 
of  old. 

Shakespeare,  though  cultivating,  it  may  be,  little  direct 
acquaintance  with  the  classical  writers,  followed  the  general 
practice.  He  has  built  up  some  of  the  finest  of  his  Trage- 
dies, if  not  with  chorus,  and  semi-chorus,  strophe,  anti- 
strophe,  and  epode,  like  the  Athenian  models,  yet  with  a 


SECT.  I.]  HISTORICAL    EMBLEMS.  189 

wonderfully  exact  appreciation  of  the  characters  of  antiquity, 
and  with  a  delineating  power  surprisingly  true  to  history  and 
to  the  leading  events  and  circumstances  in  the  lives  of  the 
personages  whom  he  introduces.  From  possessing  full  and 
adequate  scholarship,  Giovio,  Domenichi,  Claude  Mignault, 
Whitney,  and  others  of  the  Emblem  schools,  went  imme- 
diately to  the  original  sources  of  information.  Shakespeare, 
we  may  admit,  could  do  this  only  in  a  limited  degree,  and 
generally  availed  himself  of  assistance  from  the  learned  trans- 
lators of  ancient  authors.  Most  marvellously  does  he  transcend 
them  in  the  creative  attributes  of  high  genius  :  they  supplied 
the  rough  marble,  blocks  of  Parian  perchance,  and  a  few 
tools  more  or  less  suited  to  the  work ;  but  it  was  himself, 
his  soul  and  intellect  and  good  right  arm,  which  have  pro- 
duced almost  living  and  moving  formsr — 

"  See,  my  lord, 

Would  you  not  deem  it  breath'd  ?  and  that  those  veins 
Did  verily  bear  blood  ?  " 

Winter's  Tale,  act  v.  sc.  3,  1.  63. 

For  Medeia,  one  of  the  heroines  of  Euripides,  and  for 
^Eneas  and  Anchises  in  their  escape  from  Troy,  Alciat 
(Emblem  54),  and  his  close  imitator  Whitney  (p.  33),  give  each 
an  emblem. 

To  the  first  the  motto  is, — 

" Ei qui semel sua prodegerit,  aliena  credt  non  oportere"— 

"  To  that  man  who  has  once  squandered  his  own,  another  person's  ought 
not  to  be  entrusted," — 

similar,  as  a  counterpart,  to  the  Saviour's  words  (Luke  xvi.  12), 
"If  ye  have  not  been  faithful  in  that  which  is  another  man's, 
who  shall  give  you  that  which  is  your  own." 
The  device  is, — 


190 


CLASSIFICA  TION. 


[CHAP.  VI. 


Alicat,  1581. 


with  the  following  Latin  elegiacs,  — 

COLCHIDOS  in  gremio  nidum  quid  congeris  ?  eheu 
Nefcia  cur  pullos  tarn  male  credis  auis  ? 

Dira  parens  Medea  fuos  fauiffima  natos 
Perdidit  ;  &  fperas  par  cat  <vt  ilia  tuis  ? 

Which  Whitney  (p.  33)  considerably  amplifies,  — 


1\/TEDEA  l°e  wi^  infante  in  her  arme, 
1V1   \vhoe  kil'de  her  babes,  shee  shoulde  haue  loued  beste 
The  swallowe  yet,  whoe  did  suspect  no  harme, 
Hir  Image  likes,  and  hatch'd  vppon  her  breste  :  * 
And  lifte  her  younge,  vnto  this  tirauntes  guide, 
Whoe,  peecemeale  did  her  proper  fruicte  deuide. 

Oh  foolishe  birde,  think'  ste  thow,  shee  will  haue  care, 
Vppon  thy  yonge  ?     Whoe  hathe  her  owne  destroy'de, 
And  maie  it  bee,  that  shee  thie  birdes  should  spare  ? 
Whoe  slue  her  owne,  in  whome  shee  shoulde  haue  ioy'd. 
Thow  arte  deceau'de,  and  arte  a  warninge  good, 
To  put  no  truste,  in  them  that  hate  theire  blood." 


"  Swallows  have  built 

In  Cleopatra's  sails  their  nests  :  the  augurers 
Say  they  know  not,  they  cannot  tell ;  look  grimly 
And  dare  not  speak  their  knowledge." 

Ant.  &°  Cleop.,  act  4,  sc.  12,  1.  3. 


SECT.  I.] 


HISTORICAL    EMBLEMS. 


191 


And   to  the  same  purport,  from  Alciat's  193^  Emblem,  are 
Whitney's  lines  (p.  29), — 

"  MEDEA  nowe,  and  PROGNE,  blusshe  for  shame  : 
By  whome,  are  ment  yovv  dames  of  cruell  kinde 
Whose  infantes  yonge,  vnto  your  endlesse  blame, 
For  mothers  deare,  do  tyrauntes  of  yow  finde  : 
Oh  serpentes  seede,  each  birde,  and  sauage  brute, 
Will  those  condempne,  that  tender  not  theire  frute." 

The  stanza  of  his   i94th  Emblem  is  adapted  by  Alciat,  and 
by  Whitney  after  him  (p.  163),  to  the  motto,— 

Pietas  Jiliorum  in  parentes, — 
"  The  reverence  of  sons  towards  their  parents." 


A  Heat,  1581. 

PER  medios  ho/his  patria:  cum  ferret  ab  igne 

Aeneas  humeris  Juice  parentis  onus : 
Partite,  dicebat :  11  obis  fene  adore  a  rapto 

Nulla  erit,  erepto  fed  patre  fumma  mihi. 

"    A  ENEAS  beares  his  father,  out  of  Troye, 

When  that  the  Greekes,  the  same  did  spoile,  and  sacke 
His  father  might  of  suche  a  sonne  haue  ioye, 
Who  throughe  his  foes,  did  beare  him  on  his  backe  : 
No  fier,  nor  sworde,  his  valiaunt  harte  coulde  feare, 
To  flee  awaye,  without  his  father  deare. 


i92  CLASSIFICATION.  [CHAP.  VI. 

Which  showes,  that  sonnes  must  carefull  bee,  and  kinde, 

For  to  releeue  their  parentes  in  distresse  : 

And  duringe  life,  that  dutie  shoulde  them  binde, 

To  reuerence  them,  that  God  their  daies  maie  blesse  : 
And  reprehendes  tenne  thowsande  to  their  shame, 
Who  ofte  dispise  the  stocke  whereof  they  came." 

The  two  emblems  of  Medeia  and  of  ^Eneas  and  Anchises, 
Shakespeare,  in  2  Henry  VI.  (act.  v.  sc.  2,  1.  45,  vol.  v.  p.  218), 
brings  into  close  juxta-position,  and  unites  by  a  single  descrip- 
tion ;  it  is,  when  young  Clifford  comes  upon  the  dead  body  of 
his  valiant  father,  stretched  on  the  field  of  St.  Albans,  and  bears 
it  lovingly  on  his  shoulders.  With  strong  filial  affection  he 
addresses  the  mangled  corpse, — 

"  Wast  thou  ordain'd,  dear  father, 
To  lose  thy  youth  in  peace,  and  to  atchieve 
The  silver  livery  of  advised  age  ; 
And,  in  thy  reverence,  and  thy  chair-days,  thus 
To  die  in  ruffian  battle  ?  " 

On  the  instant  the  purpose  of  vengeance  enters  his  mind,  and 

fiercely  he  declares, — 

"  Even  at  this  sight, 

My  heart  is  turn'd  to  stone  ;  and,  while  'tis  mine, 
It  shall  be  stony.     York  not  our  old  men  spares ; 
No  more  will  I  their  babes  :  tears  virginal 
Shall  be  to  me  even  as  the  dew  to  fire  ; 
And  beauty,  that  the  tyrant  oft  reclaims, 
Shall  to  my  flaming  wrath  be  oil  and  flax. 
Henceforth  I  will  not  have  to  do  with  pity : 
Meet  I  an  infant  of  the  house  of  York, 
Into  as  many  gobbets  will  I  cut  it, 
As  wild  Medea  young  Absyrtus  did  : 
In  cruelty  will  I  seek  out  my  fame." 

Then  suddenly  there  comes  a  gush  of  feeling,  and  with  most 
exquisite  tenderness  he  adds, — 

"  Come,  thou  new  ruin  of  old  Clifford's  house  : 
As  did  ./Eneas  old  Anchises  bear, 


SECT.  L]  HISTORICAL    EMBLEMS.  193 

So  bear  I  thee  upon  my  manly  shoulders  : 
But  then  ^Eneas  bare  a  living  load, 
Nothing  so  heavy  as  these  woes  of  mine." 

The  same  allusion,  in  Julius  Ccesar  (act.  i.  sc.  2,  1.  107,  vol. 
vii.  p.  326),  is  also  made  by  Cassius,  when  he  compares  his  own 
natural  powers  with  those  of  Caesar,  and  describes  their  stout 
contest  in  stemming  "  the  troubled  Tyber," — 

"  The  torrent  roar'd,  and  we  did  buffet  it 
With  lusty  sinews,  throwing  it  aside 
And  stemming  it  with  hearts  of  controversy  ; 
But  ere  he  could  arrive  the  point  proposed, 
Caesar  cried,  '  Help  me,  Cassius,  or  I  sink  ! ' 
I,  as  ^neas  our  great  ancestor 
Did  from  the  flames  of  Troy  upon  his  shoulder 
The  old  Anchises  bear,  so  from  the  waves  of  Tiber 
Did  I  the  tired  Caesar  :  and  this  man 
Is  now  become  a  god,  and  Cassius  is 
A  wretched  creature,  and  must  bend  his  body 
If  Caesar  carelessly  but  nod  on  him." 

Progne,   or   Procne,    Medeia's   counterpart   for  cruelty,  who 
placed  the  flesh  of  her  own  son  Itys  before  his  father  Tereus, 
is   represented    in    Aneau's 
"  PlCTA  POESIS,"  ed.    1552, 
P-  73>  with  a  Latin  stanza 
of  ten  lines,  and  the  motto, 
"  IMPOTENTIS    VINDICT^: 
FOEMINA," — The  Woman  of 
furious    Vengeance.     In  the 
Titus  Andronicus  (act.  v.  sc. 

2,  1.  192,  vol.  vi.  p.  522)  the  Afteattt  I552. 

fearful  tale  of  Progne  enters 

into  the  plot,  and  a  similar  revenge  is  repeated.  The  two  sons 
of  the  empress,  Chiron  and  Demetrius,  who  had  committed 
atrocious  crimes  against  Lavinia  the  daughter  of  Titus,  are 

c  c 


1 94  CLASSIFICATION.  [CHAP.  VI. 

bound,  and  preparations  are  made  to  inflict  such  punishment 
as  the  world's  history  had  but  once  before  heard  of.  Titus 
declares  he  will  bid  their  empress  mother,  "  like  to  the  earth 
swallow  her  own  increase." 

"  This  is  the  feast  that  I  have  bid  her  to, 
And  this  the  banquet  she  shall  surfeit  on  ; 
For  worse  than  Philomel  you  used  my  daughter, 
And  worse  than  Progne  I  will  be  revenged." 

Tis  a  fearful  scene,  and  the  father  calls, — 

"  And  now  prepare  your  throats.     Lavinia,  come, 

[He  cuts  their  throats. 

Receive  the  blood  :  and  when  that  they  are  dead, 

Let  me  go  grind  their  bones  to  powder  small, 

And  with  this  hateful  liquor  temper  it ; 

And  in  that  paste  let  their  vile  heads  be  baked. 

Come,  come,  be  every  one  officious 

To  make  this  banquet ;  which  I  wish  may  prove 

More  stern  and  bloody  than  the  Centaurs'  feast." 

A  character  from  Virgil's  ^Eneid  (bk.  ii.  lines  79-80;  195-8  ; 
257-9),*  frequently  introduced  both  by  Whitney  and  Shake- 
speare, is  that  of  the  traitor  Sinon,  who,  with  his  false  tears  and 
lying  words,  obtained  for  the  wooden  horse  and  its  armed  men 
admission  through  the  walls  and  within  the  city  of  Troy.  Asia, 
he  averred,  would  thus  secure  supremacy  over  Greece,  and 
Troy  find  a  perfect  deliverance.  It  is  from  the  "PlCTA  PoESIS  " 
of  Anulus  (p.  1 8),  that  Whitney  (p.  141)  on  one  occasion 
adopts  the  Emblem  of  treachery,  the  untrustworthy  shield  of 
Brasidas, — 


"  Nee,  si  miserum  fortuna  Sinonem 
Finxit,  vanum  etiam  mendacemque  improba  finget." 
Talibus  insidiis,  perjurique  arte  Sinonis, 
Credita  res  :  captique  dolis,  lachrymisque  coactis, 
Quos  neque  Tydides,  nee  Larissaeus  Achilles, 
Non  anni  dorrjuere  decem,  non  mille  carinae." 

"  fatisque  Deum  defensus  iniquis, 
Inclusos  utero  Danaos  et  pinea  furtim 
Laxat  claustra  Sinon." 


SECT.  I.] 


HISTORICAL    EMBLEMS. 

Perfidvsfamiliaris, — 
"  The  faithless  friend." 


195 


Aiieau,  1552. 

PER  medium  Bra/Idas  clypeum  traiettus  ab  hofle : 
Quoqueforet  lafus  due  rogante  modum. 

Cuifidebam  (tnquit}  penetrabilis  <vmbo  fefellit . 
Sic  cvifepe  fides  credit  a:  pr  editor  eft. 

Thus  rendered  in  the  Choice  of  Emblemes,— 

"  T  I  7HILE  throughe  his  foes,  did  boulde  BRASIDAS  thruste, 
V  *     And  thought  with  force,  their  courage  to  confounde  : 
Throughe  targat  faire,  wherein  he  put  his  truste, 
His  manlie  corpes  receau'd  a  mortall  wounde. 
Beinge  ask'd  the  cause,  before  he  yeelded  ghoste  : 
Quoth  hee,  my  shielde,  wherein  I  trusted  moste. 

Euen  so  it  happes,  wee  ofte  our  bayne  doe  brue, 
When  ere  wee  trie,  wee  trust  the  gallante  showe  : 
When  frendes  suppoas'd,  do  prooue  them  selues  vntrue, 
When  SINON  false,  in  DAMONS  shape  dothe  goe  : 
Then  gulfes  of  griefe,  doe  swallowe  vp  our  mirthe, 
And  thoughtes  ofte  times,  doe  shrow'd  vs  in  the  earthe. 


But,  if  thou  doe  inioye  a  faithfull  frende, 

See  that  with  care,  thou  keepe  him  as  thy  life  : 

And  if  perhappes  he  doe,  that  may  offende, 

Yet  waye  thy  frende  :  and  shunne  the  cause  of  strife, 

Remembringe  still,  there  is  no  greater  crosse  ; 

Then  of  a  frende,  for,  to  sustaine  the  losse. 


196 


CLASSIFICA  TION. 


[CHAP.  VI. 


Yet,  if  this  knotte  of  frendship  be  to  knitte, 
And  SCIPIO  yet,  his  LELIVS  can  not  finde  ? 
Content  thy  selfe,  till  some  occasion  fitte, 
Allot  thee  one,  according  to  thy  minde  : 

Then  trie,  andHruste  :  so  maiste  thou  Hue  in  rest, 
But  chieflie  see,  thou  truste  thy  selfe  the  beste  ?  " 


Sambucus,  1564. 


And  again,  adopting 
the  Emblem  of  John 
Sambucus,  edition  Ant- 
werp, 1564,  p.  184,*  and 
the  motto, 

Nusquam  tuta  fides, — 
"  Trustfulness  is  never  sure," 

with  the  exemplifica- 
tion of  the  Elephant 
and  the  undermined  tree, 


Whitney  writes  (p.  150), — 


"  1\I  °  state  so  Sure'  n°  seate  withm  ^is  life 
•*•  ^    But  that  maie  fall,  thoughe  longe  the  same  haue  stoode 
Here  fauninge  foes,  here  fained  frendes  are  rife. 
With  pickthankes,  blabbes,  and  subtill  Sinons  broode, 
Who  when  wee  truste,  they  worke  our  ouerthrowe, 
And  vndermine  the  grounde,  wheron  wee  goe. 

The  Olephant  so  huge,  and  stronge  to  see, 
No  perill  fear'd  :  but  thought  a  sleepe  to  gaine 
But  foes  before  had  vndermin'de  the  tree, 
And  downe  he  falles,  and  so  by  them  was  slaine  : 

*  The  text  of  Sambucus  is  dedicated  to  his  father,  Peter  Sambukius. 

"  DVM  rigidos  artus  elephas,  dum  membra  qriiete 

Subleuat,  assuetis  nititur  arboribus  ' 
Quas  vbi  venator  didicit,  sticcidit  ab  imo, 

Panlatim  ~vt  recnbans  belna  mole  mat. 
Tarn  leuiter  capitur  duri  qui  in  prcelia  Martis 

A  rma,  viros,  turrim,  tergore  vectat  opes. 
Nusqiiam  trcta  fides,  nimium  ne  crede  qiiieti, 

S&pius  &>  tutis  decipiere  locis. 
Hippomenes  pomis  Schcetieida  vicit  amatam, 

Sic  Peliam  natis  Colchis  acerba  necat. 
Sic  nos  decipiunt  dedimus  quibus  omnia  nostra  : 

Saltern  conantur drficiente fide" 


i97 


SECT.  I.]  HISTORICAL    EMBLEMS. 

First  trye,  then  truste  :  like  goulde,  the  copper  showes  : 
And  NERO  ofte,  in  NVMAS  clothinge  goes." 

Freitag's  "MYTHOLOGIA  ETHICA,"  pp.  176,  177,  sets  forth 
the  well-known  fable  of  the  Countryman  and  the  Viper,  which 
after  receiving  warmth  and  nourishment  attempted  to  wound 
its  benefactor.  The  motto  is, — 

Maleficio  beneficium  compensation, — 
"  A  good  deed  recompensed  by  maliciousness." 


Freitag,  1579. 

"  Qui  rcddit  mala  pro  bouts,  non  recedet  malum  de  domo  eius." — Prouerb.  17, 13. 
"  Whoso  rewardeth  evil  for  good,  evil  shall  not  depart  from  his  house." 

Nicolas  Reusner,  also,  edition  Francfort,   1581,  bk.  ii.  p.  81, 
has  an  Emblem  on  this  subject,  and  narrates  the  whole  fable, — 


1 98  .CLASSIFICA  TION.  [CHAP.  VI. 

Merces  anguina, — "  Reward  from  a  serpent." 
"  Frigore  confectum  quern  rusticus  inuenit  anguem 

Imprudens  fotum  recreat  ecce  sinu. 
Immemor  hie  miserum  lethale  sauciat  ictu  : 

Reddidit  hie  vitam  ;  reddidit  ille  necem. 
Si  benefacta  locis  male,  simplex  mente,  bonusq.  : 

Non  benefacta  quidem,  sed  malefacta  puta. 
Ingratis  seruire  nefas,  gratisq.  nocere  : 

Quod  bene  fit  gratis,  hoc  solet  esse  lucre."* 

In  several  instances  in  his  historical  plays,  Shakespeare  v.ery 
expressly  refers  to  this  fable.  On  hearing  that  some  of  his 
nobles  had  made  peace  with  Bolingbroke,  in  Richard  II.  (act.  iii. 
sc.  2,  1.  129,  vol.  iv.  p.  1 68),  the  king  exclaims, — 

"  O  villains,  vipers,  damn'd  without  redemption  ! 
Dogs,  easily  won  to  fawn  on  any  man  ! 
Snakes,  in  my  heart  blood  warm'd  that  sting  my  heart  ! " 

In  the  same  drama  (act.  v.  sc.  3,  1.  57,  vol.  iv.  p.  210)  York  urges 
Bolingbroke, — 

"  Forget  to  pity  him,  lest  thy  pity  prove, 
A  serpent  that  will  sting  thee  to  the  heart." 

And  another,  bearing  the  name  of  York,  in  2  Henry  VI.  (act. 
iii.  sc.  I,  1.  343,  vol.  v.  p.  162),  declares  to  the  nobles, — 

"  I  fear  me,  you  but  warm  the  starved  snake, 
Who,  cherish'd  in  your  breasts,  will  sting  your  hearts." 

Also  Hermia,  Midsummer  Night's  Dream  (act.  ii.  sc.  2,  1.  145, 


A  snake  worn  out  with  cold  a  rustic  found, 

And  cherished  in  his  breast  doth  rashly  warm  ; 
Thankless  the  snake  inflicts  a  fatal  wound, 

And  life  restored  requites  with  deadly  harm. 
If  badly  benefits  thou  dost  intend, 

Simple  of  heart  and  good  within  thy  mind,— 
No  benefits  suppose  them  in  their  end,  , 

But  deeds  of  evil  and  of  evil  kind. 
To  serve  the  thankless  is  a  sinful  thing, 

And  wicked  they  who  wilfully  give  pain  ; 
Whatever  with  free  soul  of  good  thou  bring, 

This  rightfully  thou  may's!  account  true  gam." 


SECT.  L]  HISTORICAL    EMBLEMS.  199 

vol.  ii.  p.  225),  when  awakened  from  her  trance-like  sleep,  calls 
on  her  beloved, — 

"  Help  me,  Lysander,  help  me  !  do  thy  best 
To  pluck  this  crawling  serpent  from  my  breast." 

Whitney  combines  Freitag's  and  Reusner's  Emblems  under 
one  motto  (p.  189),  In  sinu  alere  serpentem, — "To  nourish  a 
serpent  in  the  bosom," — but  applies  them  to  the  siege  of 
Antwerp  in  1585  in  a  way  which  Schiller's  famous  history 
fully  confirms  :  *  —  "  The  government  of  the  citizens  was 
shared  among  too  many  hands,  and  too  strongly  influenced 
by  a  disorderly  populace  to  allow  any  one  to  consider  with 
calmness,  to  decide  with  judgment,  or  to  execute  with  firm- 
ness." 

The  typical  Siaon  is  here  introduced  by  Whitney,— 

"  HPHOVGHE,  cittie  stronge  the  cannons  shotte  dispise, 

And  deadlie  foes,  beseege  the  same  in  vaine  : 
Yet,  in  the  walles  if  pining  famine  rise, 
Or  else  some  impe  of  SINON,  there  remaine. 

What  can  preuaile  your  bulvvarkes  ?  and  your  towers, 
When,  all  your  force,  your  inwarde  foe  deuoures." 

In  fact,  Sinon  seems  to  have  been  the  accepted  repre- 
sentative of  treachery  in  every  form  ;  for  when  Camillus, 
at  the  siege  of  Faleria,  rewarded  the  Schoolmaster  as  he 
deserved  for  attempting  to  give  up  his  scholars  into  cap- 
tivity, the  occurence  is  thus  described  in  the  Choice  of  Em- 
b levies,  p.  1 1 3, —  , 

"  With  that,  hee  caus'de  this  SINON  to  .bee  stripte, 
And  whippes,  and  roddes,  vnto  the  sch oilers  gaue  : 
Whorne,  backe  againe,  into  the  toune  they  whipte." 

*  Schiller's  Werke,  band  8,  pp.  426-7.  "Die  Regierung  dieser  Stadt  war  in 
allzu  viele  Hiinde  vortheilt,  und  der  stiirmischen  Menge  ein  viel  zu  grossen  Antheil 
daran  gegeben,  als  dasz  man  mit  Ruhe  hatte  iiberlegen  mit  Einsieht  wahlen  und  mit 
Festigkeit  ausfxihrenkonnen. " 


200  CLASSIFICATION.  [CHAP.  VI. 

Shakespeare  is  even  more  frequent  in  his  allusions  to  this 
same  Sinon.  The  Rape  of  Lucrece,  published  in  1594,  speaks  of 
him  as  "the  perjured  Sinon,"  "the  false  Sinon,"  "the  subtle 
Sinon,"  and  avers  (vol.  ix.  p.  537,  1.  1513),— 

"  Like  a  constant  and  confirmed  devil, 

He  entertain'd  a  show  so  seeming  just, 

And  therein  so  ensconc'd  his  secret  evil, — 

That  jealousy  itself  could  not  mistrust, 

False  creeping  craft  and  perjury  should  thrust 
Into  so  bright  a  day  such  black-faced  storms, 
Or  blot  with  hell-born  sin  such  saint-like  forms." 

Also  in  3  Henry  VI.  (act.  iii.  sc.  2,  1.  188,  vol.  v.  p.  285),  and  in 
Titus  Andronicus  (act.  v.  sc.  3,  1.  85,  vol.  vi.  p.  527),  we  read, — 

"I'll  play  the  orator  as  well  as  Nestor, 
Deceive  more  slyly  than  Ulysses  could, 
And  like  a  Sinon,  take  another  Troy  ; " 
and, — 

"  Tell  us  what  Sinon  hath  bewitch'd  our  ears, 
Or  who  hath  brought  the  fatal  engine  in 
That  gives  our  Troy,  our  Rome,  the  civil  wound." 

But  in  Cymbeline  (act.  iii.  sc.  4,  1.  57,  vol.  ix.  p.  226),  ^Eneas  is 
joined  in  almost  the  same  condemnation  with  Sinon.  Pisano 
expostulates  with  Imogen, — 

"  Pis.  Good  madam,  hear  me. 

Imo.  True  honest  men  being  heard,  like  false  ^Eneas, 
Were  in  his  time  thought  false  ;  and  Sinon's  weeping 
Did  scandal  many  a  holy  tear,  took  pity 
From  most  true  wretchedness  :  so  thou,  Posthumus, 
Wilt  lay  the  leaven  on  all  proper  men  ; 
Goodly  and  gallant  shall  be  false  and  perjured 
From  thy  great  fail." 

I 

Doubtless  it  will  be  said  that  such  allusions  to  the  characters 
in  classical  history  are  the  common  property  of  the  whole 
modern  race  of  literary  men,  and  that  to  make  them  implies  no 


SECT.  L]  HISTORICAL    EMBLEMS.  201 

actual  copying  by  later  writers  of  those  who  preceded  them  in 
point  of  time ;  still  in  the  examples  just  given  there  are  such 
coincidences  of  expression,  not  merely  of  idea,  as  justify  the 
opinion  that  Shakespeare  both  availed  himself  of  the  usual 
sources  of  information,  and  had  read  and  taken  into  his  mind 
the  very  colour  of  thought  which  Whitney  had  lately  spread 
over  the  same  subject. 

The    gr6at    Roman    names,    Curtius,    Codes,    Manlius    and 
Fabius  gave  Whitney  the  opportunity  for  saying  (p.  109),— 

"-With  these,  by  righte  comes  Coriolanus  in, 
Whose  cruell  minde  did  make  his  countrie  smarte  ; 
Till  mothers  teares,  and  wiues,  did  pittie  winne." 

And  these  few  lines,  in  fact,  are  a  summary  of  the  plot  and  chief 
incidents  of  Shakespeare's  play  of  Coriolanus,  so  that  it  is  far 
from  being  unlikely  that  they  may  have  been  the  germ,  the  very 
seed-bed  of  that  vigorous  offset  of  his  genius.  Almost  the  exact 
blame  which  Whitney  imputes  is  also  attributed  to  Coriolanus 
by  his  mother  Volumnia  (act.  v.  sc.  3,  1.  101,  vol.  vi.  p.  407),  who 
charges  him  with, — 

"  Making  the  mother,  wife  and  child,  to  see 
The  son,  the  husband  and  the  father,  tearing 
His  country's  bowels  out." 

And  when  wife  and  mother  have  conquered  his  strong  hatred 
against  his  native  land  (act.  v.  sc.  3,  1.  206,  vol.  vi.  p.  411), 

Coriolanus  observes  to  them, — 

"  Ladies,  you  deserve 

To  have  a  temple  built  you  :  all  the  swords 
In  Italy,  and  her  confederate  arms, 
Could  not  have  made  this  peace." 

The  subject  of  Alciat's  iiQth  Emblem,  edition  1581,  p.  430, 
is  the  Death  of  Brutus,  with  the  motto, — 


202  CLASSIFICATION.  [CHAP.  VI. 

Fortuna  virtutem  superans, — 
"  Fortune  overcoming  valour." 


Alicat,  1581. 

CJESAREO  poftquam  fuperatus  milite,  <vidit 

Ciuili  -vndantem  f anguine  Pharfaliam  ; 
Jam  iam  ftrifturus  moribunda  in  pe flora  ferrum, 

Audaci  ho 5  Brutus  protulit  ore  fonos : 
Infelix  virtus;  &  foils  prouida  <verbis, 

Fortunam  in  rebus  cur fequeris  dominant? 

On   the   ideas   here   suggested   Whitney   enlarges,   p.    70,   and 
writes,— 

"  \A/"HEN  BKVTVS  knewe,  AVGVSTVS  parte  preuaiFde, 

And  sawe  his  frendes,  lie  bleedinge  on  the  grounde, 
Such  deadlie  griefe,  his  noble  harte  assail'de, 
That  with  his  sworde,  hee  did  him  selfe  confounde  : 
But  firste,  his  frendes  perswaded  him  to  flee, 
Whoe  aunswer'd  thus,  my  flighte  with  handes  shalbee. 

And  bending  then  to  blade,  his  bared  breste, 

Hee  did  pronounce,  theise  wordes  with  courage  great : 

Oh  Prowes  vaine,  I  longe  did  loue  thee  beste, 

But  nowe  I  see,  thou  doest  on  fortune  waite. 
Wherefore  with  paine,  I  nowe  doe  prouue  it  true,  x 

That  fortunes  force,  maie  valiant  hartes  subdue." 


SECT.  L]  HISTORICAL    EMBLEMS.  203 

So,  in  the  Julius  Cczsar  (act.  v.  sc.  5,  1.  25,  vol.  vii.  p.  413), 
the  battle  of  Philippi  being  irretrievably  lost  to  the  party  of  the 
Republic,  and  Marcus  Cato  slain,  Brutus,  meditating  self-de- 
struction, desires  aid  from  one  of  his  friends  that  he  may 
accomplish  his  purpose, — 

"  Good  Volumnius, 

Thou  know'st  that  we  two  went  to  school  together  : 
Even  for  that  our  love  of  old,  I  prithee, 
Hold  thou  my  sword-hilts,  whilst  I  run  on  it. 
Vol.  That's  not  an  office  for  a  friend,  my  lord." 

The  alarum  continues, — the  friends  of  Brutus  again  remonstrate, 
and  Clitus  urges  him  to  escape  (1.  30), — 

"  Cli.  Fly,  fly,  my  lord  ;  there  is  no  tarrying  here. 

Bm.  Farewell  to  you  ;  and  you  ;  and  you,  Volumnius. 
Strato,  thou  hast  been  all  this  while  asleep  ; 
Farewell  to  thee,  too,  Strato.     Countrymen, 
My  heart  doth  joy  that  yet  in  all  my  life 
I  found  no  man  but  he  was  true  to  me. 
I  shall  have  glory  by  this  losing  day, 
More  than  Octavius  and  Mark  Antony 
By  this  vile  contest  shall  attain  unto. 
So,  fare  you  well  at  once  ;  for  Brutus'  tongue 
Hath  almost  ended  his  life's  history  : 
Night  hangs  upon  mine  eyes  ;  my  bones  would  rest, 
That  have  but  labour'd  to  attain  this  hour." 

Once  more  is  the  alarum  raised, — "  Fly,  fly,  fly."  "  Hence,  I 
will  follow  thee,"  is  the  hero's  answer ;  but  when  friends  are  gone, 
he  turns  to  one  of  his  few  attendants,  and  entreats  (1.  44), — 

"  I  prithee,  Strato,  stay  thou  by  thy  lord  : 
Thou  art  a  fellow  of  a  good  respect ; 
Thy  life  hath  had  some  smatch  of  honour  in  it : 
Hold  then  my  sword,  and  turn  away  thy  face, 
While  I  do  run  upon  it.     Wilt  thou,  Strato  ? 
i  Stra.  Give  me  your  hand  first :  fare  you  well,  my  lord. 

Bru.  Farewell,  good  Strato.  [Runs  on  his  sword.]  Cassar, 

now  be  still : 
I  kill'd  not  thee  with  half  so  good  a  will.  [Dies.] " 


204 


CLASSIFICA  TION. 


[CHAP.   VI. 


In  the  presence  of  the  conquerors  Strato  then  declares, — 

"  The  conquerors  can  but  make  a  fire  of  him  ; 
For  Brutus  only  overcame  himself, 
And  no  man  else  hath  honour  by  his  death. 

Lucil.  So  Brutus  should  be  found.     I  thank  thee,  Brutus, 
That  thou  hast  proved  Lucilius'  saying  true." 

And  we  must   mark   how  finely  the   dramatist   represents  the 
victors  at  Philippi  testifying  to  the  virtues  of  their  foe  (1.  68),— 

"  Antony.  This  was  the  noblest  Roman  of  them  all  : 
All  the  conspirators,  save  only  he, 
Did  that  they  did  in  envy  of  great  Caesar  ; 
He  only,  in  a  general  honest  thought 
And  common  good  to  all,  made  one  of  them. 

*  *  -i'-  *.  * 

Octavius*  According  to  his  virtue  let  us  use  him, 
With  all  respect  and  rites  of  burial. 
Within  my  tent  his  bones  to-night  shall  lie, 
Most  like  a  soldier,  ordered  honourably." 

The  mode  of  the  catastrophe  differs  slightly  in  the  two 
writers  ;  and  undoubtedly,  in  this  as  in  most  other  instances, 
there  is  a  very  wide  difference  between  the  life  and  spiritedness 
of  the  dramatist,  and  the  comparative  tameness  of  the  Emblem 
writers, — the  former  instinct  with  the  fire  of  genius,  the  latter 
seldom  rising  above  an  earth-bound  mediocrity ;  yet  the 
references  or  allusions  by  the  later  poet  to  the  earlier  can 
scarcely  be  questioned  ;  they  are  too  decided  to  be  the  results 
of  pure  accident. 


In  one  instance  Whitney  (p.  no,  1.  32)  hits  off  the  charac- 
teristics of  Brutus  and  Cassius  in  a  single  line,— 

"  With  Brutus  boulde,  and  Cassius,  pale  and  wan." 


*  As  Whitney  describes  him  (p.  no,  1.  27), — 

"  Augustus  eeke,  that  happie  most  did  raigne, 
The  scourge  to  them,  that  had  his  vnkle  slaine." 


SECT.  I.]  HISTORICAL    EMBLEMS.  205 

It  is  remarkable  how  Shakespeare  amplifies  these  two  epithets, 
"  pale  and  wan  "  into  a  full  description  of  the  personal  manner 
and  appearance  of  Cassius.  Caesar  and  his  train  have  re-entered 
upon  the  scene,  and  (act.  i.  sc.  2,  1.  192,  vol.  vii.  p.  329)  the 
dictator  haughtily  and  satirically  gives  order, — 

"  Cess.  Let  me  have  men  about  me  that  are  fat, 
Sleek-headed  men,  and  such  as  sleep  o'  nights  : 
Yond  Cassius  has  a  lean  and  hungry  look  ; 
He  thinks  too  much  :  such  men  are  dangerous. 

Ant.  Fear  him  not,  Caesar  ;  he's  not  dangerous  ; 
He  is  a  noble  Roman,  and  well  given. 

CCBS.  Would  he  were  fatter  !  but  I  fear  him  not : 
Yet  if  my  name  were  liable  to  fear, 
I  do  not  know  the  man  I  should  avoid 
So  soon  as  that  spare  Cassius.     He  reads  much  ; 
He  is  a  great  observer,  and  he  looks 
Quite  through  the  deeds  of  men  :  he  loves  no  plays, 
As  thou  dost,  Antony  ;  he  hears  no  music  ; 
Seldom  he  smiles,  and  smiles  in  such  a  sort 
As  if  he  mock'd  himself  and  scorn'd  his  spirit 
That  could  be  moved  to  smile  at  any  thing. 
Such  men  as  he  be  never  at  heart's  ease 
Whiles  they  behold  a  greater  than  themselves, 
And  therefore  are  they  very  dangerous." 

"  Pale  and  wan," — two  most  fruitful  words,  certainly,  to  bring 
forth  so  graphic  a  description  of  men  that  are  "  very  dangerous." 

Of  names  historic  the  Emblem  writers  give  a  great  many 
examples,  but  only  a  few,  within  the  prescribed  boundaries  of 
our  subject,  that  are  at  the  same  time  historic  and  Shake- 
spearean. 

Vel  post  mortem  formidolosi, — "  Even  after  death  to  be 
dreaded," — is  the  sentiment  with  which  Alciatus  (Emblem  170), 
and  Whitney  after  him  (p.  194),  associate  the  noisy  drum  and 
the  shrill-sounding  horn;  and  thus  the  Emblem-classic  illustrates 
his  device, — 


206  CLASSIFICATION.  [CHAP.  VI. 

"  CETERA  mutescent,  coriumq.  silebit  oiiillum, 

Si  confecta  lupi  tympana  pelle  sonent. 
Hanc  membrana  ouium  sic  exhorrescit,  vt  hostem 

Exanimis  quamuis  non  ferat  exanimem. 
Sic  cute  detracta  Ziscas^  in  tympana  versus, 

Boemos  potuit  vincere  Pontifices? 

Literally  rendered  the  Latin  elegiacs  declare, — 

"  Other  things  will  grow  dumb,  and  the  sheep-skin  be  silent, 
If  drums  made  from  the  hide  of  a  wolf  should  sound. 

Of  this  so  sore  afraid  is  the  membrane  of  sheep, 
That  though  dead  it  could  not  bear  its  dead  foe. 

So  Zisca's  skin  torn  off,  he,  changed  to  a  drum, 
The  Bohemian  chief  priests  was  able  to  conquer." 

These  curious  ideas  Whitney  adopts,  and  most  lovingly  en- 
larges,— 

"    A     Secret  cause,  that  none  can  comprehende, 
•V*1    In  natures  workes  is  often  to  bee  scene  ; 
As,  deathe  can  not  the  ancient  discorde  ende, 
That  raigneth  still,  the  wolfe  and  sheepe  betweene  ; 
The  like,  beside  in  many  thinges  are  knowne, 
The  cause  reueal'd,  to  none,  but  GOD  alone. 

For,  as  the  wolfe,  the  sillye  sheepe  did  feare, 
And  make  him  still  to  tremble,  at  his  barke  : 
So  beinge  dead,  which  is  most  straunge  to  heare, 
This  feare  remaynes,  as  learned  men  did  marke  ; 

For  with  their  skinnes,  if  that  two  drommes  bee  bounde, 
That,  clad  with  sheepe,  doth  iarre  ;  and  hathe  no  sounde. 

And,  if  that  stringes  bee  of  their  intrailes  wroughte, 
And  ioyned  both,  to  make  a  siluer  sounde  : 
No  cunninge  care  can  tune  them  as  they  oughte, 
But  one  is  harde,  the  other  still  is  droun'de : 

Or  discordes  foule,  the  harmonic  doe  marre  ; 

And  nothinge  can  appease  this  inward  warre. 

So,  ZISCA  thoughte  when  deathe  did  shorte  his  daies, 
As  with  his  voice,  hee  erste  did  daunte  his  foes  ; 
That  after  deathe  hee  shoulde  new  terror  raise, 
And  make  them  flee,  as  when  they  felte  his  bloes. 

Wherefore,  hee  charg'd  that  they  his  skinne  shoulde  frame, 
To  fitte  a  dromme,  and  marche  forth  with  the  same. 


SECT.  I.]  HISTORICAL    EMBLEMS.  207 

So,  HECTORS  sighte  greate  feare  in  Greekes  did  worke, 
When  hee  was  showed  on  horsebacke,  beeinge  dead  : 
HVNIADES,  the  terrour  of  the  Turke, 
Thoughe  layed  in  graue,  yet  at  his  name  they  fled  : 
And  cryinge  babes,  they  ceased  with  the  same, 
The  like  in  FRANCE,  sometime  did  TALBOTS  name." 

The  cry  *  "  A  Talbot !  a  Talbot !  "  is  represented  by  Shake- 
speare as  sufficient  in  itself  to  make  the  French  soldiers  flee  and 
leave  their  clothes  behind  ;  I  Henry  VI.  (act  ii.  sc.  i,  1.  78,  vol.  v. 

P-  29)  - 

"  Sold.  I'll  be  so  bold  to  take  what  they  have  left. 

The  cry  of  Talbot  serves  me  for  a  sword  ; 
For  I  have  loaden  me  with  many  spoils 
Using  no  other  weapon  but  his  name."   " 

And  in  the  same  play  (act  ii.  sc.  3,  1.  1 1,  vol.  v.  p.  32),  when 
the  Countess  of  Auvergne  is  visited  by  the  dreaded  English- 
man, the  announcement  is  made, — 

"Mess.  Madam, 

According  as  your  ladyship  desired, 
By  message  craved,  so  is  Lord  Talbot  come. 

Count.  And  he  is  welcome.     What !  is  this  the  man  ? 

Mess.  Madam,  it  is. 

Count.  Is  this  the  scourge  of  France  ? 

Is  this  the  Talbot,  so  much  fear'd  abroad 
That  with  his  name  the  mothers  still  their  babes?" 

Five  or  six  instances  nlay  be  found  in  which  Shakespeare 
introduces  the  word  "  lottery  ; "  and,  historically,  the  word  is 
deserving  of  notice, — for  it  was  in  his  boyhood  that  the  first 
public  lottery  was  set  on  foot  in  England  ;  and  judging  from  the 
nature  of  the  prizes,  he  appears  to  have  made  allusion  to  them. 
There  were  40,000  chances, — according  to  Bonn's  Standard 
Library  Cyclopedia,  vol.  iii.  p.  279, — sold  at  ten  shillings  each  : 
"  The  prizes  consisted  gf  articles  of  plate,  and  the  profit  was 

"  His  soldiers  spying  his  undaunted  spirit, 
A  Talbot  !  a  Talbot !  cried  out  amain, 
And  rush'd  into  the  bowels  of  the  battle." 

i  Henry  VI.,  act.  i.  sc.  i,  1.  127. 


208 


CLASSIFICA  TION. 


[CHAP.  VI. 


employed  for  the  repair  of  certain  harbours."  The  drawing  took 
place  at  the  west  door  of  St.  Paul's  Cathedral  ;  it  began  "  23rd 
January,  1569,  and  continued  incessantly  drawing,  day  and  night, 
till  the  6th  of  May  following."*  How  such  an  event  should  find 

its  record  in  a  Book  of 
Emblems  may  at  first  be 
accounted  strange  ;  but  in 
addition  to  her  other  mot- 
toes, Queen  Elizabeth  had, 
on  this  occasion  of  the 
lottery,  chosen  a  special 
motto,  which  Whitney  (p. 
6 1) attaches  to  the  device,— 

Silentium, — "  Silence,"— 


Whitney,  1586. 

which,  after  six  stanzas,  he  closes  with  the  lines, — 

"  Th'  Egyptians  wise,  and  other  nations  farre, 
Vnto  this  ende,  HARPOCRATES  deuis'de, 
Whose  finger,  still  did  seeme  his  mouthe  to  barre, 
To  bid  tjiem  speake,  no  more  than  that  suffis'de, 
Which  signe  thoughe  oulde,  wee  may  not  yet  detest, 
But  marke  it  well,  if  wee  will  liue  in  reste." 


Written  to  the  like  effette,  <vppon 

Video,  &  taceo. 

Her  Male/lies  poefie,  at  the  great  Lotterle  In  LONDON, 
begon  M.D.LXVIII.  and  ended  M.D.LXIX. 

I"    See,  and  houlde  my  peace  :  a  Princelie  Poeiie  righte, 
*-'    For  euerie  faulte,  fhoulde  not  prouoke,  a  Prince,  or  man  of  mighte. 
For  if  that  IOVE  fhoulde  fhoote,  fo  ofte  as  men  offende, 
The  Poettes  laie,  his  thunderboltes  fhoulde  foone  bee  at  an  ende. 


*  See  Gentleman's  Magazine,  .1778,  p.  470;   1821,  pt.  I,  p.  531 ;  and  Archaologia, 
vol.  xix.  pt.  I,  art.  x.  .  Also,  Blomfield's  Norfolk,  vol.  v.  p.  1600. 


SECT.  L]  HISTORICAL    EMBLEMS.  209 

Then  happie  wee  that  haue,  a  PrincefTe  fo  inclin'de. 

That  when  as  iuftice  drawes  hir  fworde,  hath  mercie  in  her  minde, 

And  to  declare  the  fame,  howe  prone  fhee  is  to  fane  : 

Her  Maieftie  did  make  her  choice,  this  Poefie  for  to  haue. 

Sed  piger  ad  pcenas  princeps,  ad  praemia  -vclox  : 
Cuique  dolet,  quoties  cogitur  effe  ferox.* 

Lines  from  Ovid,  2  Trist.,  are  in  the  margin, — 

"  Si  quoties  peccttt  homines  suafulmina  mittat 
Jupiter,  exiguo  tempore  inermis  erit"  f 

Silence,  also,  was  represented  by  the  image  of  the  goddess 
Ageniora.  In  an  Emblem-book  by  Peter  Costalius,  Pegma, 
edition  Lyons,  1555,  p.  109,  he  refers  to  her  example,  and  con- 
cludes his  stanza  with  the  words,  Si  sapis  a  nostra  disce  tacere 
dea, — "  If  thou  art  wise,  learn  from  our  goddess  to  be  silent." 

That  Casket  Scene  in  the  Merchant  of  Venice  (act  i.  sc.  2, 1.  24), 
—from  which  we  have  already  made  long  extracts, — contains  a 
reference  to  lotteries  quite  in  character  with  the  prizes,  "  articles 
of  plate  and  rich  jewelry."  Portia  is  deeming  it  hard,  that 
according  to  her  father's  will,  she  "may  neither  choose  whom 
she  would,  nor  refuse  whom  she  disliked."  "  Is  it  not  hard, 
Nerissa,  that  I  cannot  choose  one,  nor  refuse  none  ? " 

"  Ner.  Your  father  was  ever  virtuous  ;  and  holy  men,  at  their  death,  have 
good  inspirations  :  therefore,  the  lottery,  that  he  hath  devised  in  these  three 
chests  of  gold,  silver,  and  lead, — whereof  who  chooses  his  meaning  chooses 
you — will,  no  doubt,  never  be  chosen  by  any  rightly,  but  one  who  shall 
rightly  love." 

The  Prince  of  Morocco  (act  ii.  sc.  I,  1.  11)  affirms  to  Portia, — 

"  I  would  not  change  this  hue, 
Except  to  steal  your  thoughts,  my  gentle  queen  ;" 

"  But  a  prince  slow  for  punishments,  swift  for  rewards  ; 

To  whomsoever  he"  grieves,  how  often  is  he  forced  to  be  severe." 
t  "  If  as  often  as  men  sin  his  thunderbolts  he  should  send, 

Jupiter,  in  very  brief  time,  without  arms  will  be." 

E    E 


210  CLASSIFICATION.  [CHAP  VI. 

and  Portia  answers, — 

"  In  terms  of  choice  I  am  not  solely  led 
By  nice  direction  of  a  maiden's  eyes  ; 
Besides  the  lottery  of  my  destiny 
Bars  me  the  right  of  voluntary  choosing." 

The  prevalence  of  lotteries,  too,  seems  to  be  intimated  by  the 
Clown  in  All's  Well  that  Ends  Well  (act  i.  sc.  3,  1.  73,  vol.  iii. 
p.  123),  when  he  repeats  the  song, — 

"  Among  nine  bad  if  one  be  good, 

Among  nine  bad  if  one  be  good, 

There's  yet  one  good  in  ten  ;" 

and  the  Countess  reproving  him  says, — 

"  What,  one  good  in  ten  ?  you  corrupt  the  song,  sirrah. 

Clo.  One  good  woman  in  ten,  madam  ;  which  is  a  purifying  o'  the  song  : 
would  God  would  serve  the  world  so  all  the  year  !  we'd  find  no  fault  with  the 
tithe-woman,  if  I  were  the  parson  :  one  in  ten,  quoth  a'  !  an'  we  might  have 
a  good  woman  born  but  one  every  blazing  star,  or  at  an  earthquake,  'twould 
mend  the  lottery  well :  a  man  may  draw  his  heart  out,  ere  a'  pluck  one." 

Shakespeare's  words  will  receive  a  not  inapt  illustration  from 
the  sermon  of  a  contemporary  prelate,  Dr.  Chatterton,  Bishop  of 
Chester  from  1579  to  1595,  and  to  whom  Whitney  dedicated 
the  Emblem  on  p.  120,  Vigilantia  et  custodia, — "Watchfulness 
and  guardianship."*  He  was  preaching  a  wedding  sermon  in 

"  '"FHE  Heraulte,  that  proclaimes  the  daie  at  hande, 

The  Cocke  I  meane,  that  wakes  vs  out  of  sleepe, 
On  steeple  highe,  doth  like  a  watchman  stande : 
The  gate  beneath,  a  Lion  still  doth  keepe. 
And  why  ?  theise  two,  did  alder  time  decree, 
That  at  the  Churche,  theire  places  still  should  bee. 

That  pastors,  shoulde  like  watchman  still  be  preste, 
To  wake  the  worlde,  that  sleepeth  in  his  sinne, 
And  rouse  them  vp,  that  longe  are  rock'd  in  reste, 
And  shewe  the  daie  of  Christe,  will  straighte  beginne  : 

And  to  foretell,  and  preache,  that  light  deuine, 

Euen  as  the  Cocke  doth  singe,  ere  daie  doth  shine. 

The  Lion  shewes,  they  shoulde  of  courage  bee 

And  able  to  defende,  their  flocke  from  foes  : 

If  rauening  wolfes,  to  lie  in  waite  they  see  : 

They  shoulde  be  stronge,  and  boulde,  with  them  to  close  : 
And  so  be  arm'de  with  learning,  and  with  life, 
As  they  might  keepe,  their  charge,  from  either  strife." 


SECT.  I.] 


HISTORICAL    EMBLEMS. 


211 


Cambridge,  and  Ormerod,  i.  p.  146,  quoting  King's  Vale  Royal, 
tells  us, — 

"  He  used  this  merry  comparison.  The  choice  of  a  wife  is  full  of  hazard, 
not  unlike  to  a  man  groping  for  one  fish  in  a  barrel  full  of  serpents  :  if  he 
escape  harm  of  the  snakes,  and  light  on  the  fish,  he  may  be  thought  for- 
tunate ;  yet  let  him  not  boast,  for  perhaps  it  may  be  but  an  eel." 

That  "  good  woman  "  "  to  mend  the  lottery  well,"  that  "  one 
fish  in  a  barrel  full  of  serpents,"  came,  however,  to  the  chance  of 
one  of  Caesar's  friends.  Even  when  Antony  (Antony  and  Cleo- 
patra, act  ii.  sc.  2,  1.  245,  vol.  ix.  p.  40)  was  under  the  witchery 
of  the  "  rare  Egyptian  queen,"  that  "  did  make  defect,  perfec- 
tion," the  dramatist  says, — 

"  If  beauty,  wisdom,  modesty,  can  settle 
The  heart  of  Antony,  Octavia  is 
A  blessed  lottery  to  him." 

The  Emblems  applicable  to  Shakespeare's  historical  cha- 
racters are  only  a  few  among  the  numbers  that  occur  in  the 
Emblem  writers,  as  Alciat,  Cousteau,  Giovio,  Symeoni,  &c.  :  but 
our  choice  is  limited,  and  there  would  be  no  pertinency  in 
selecting  devices  to  which  in  the  dramas  of  our  author  there  are 
no  corresponding  expressions  of  thought,  though  there  may  be 
parallelisms  of  subject. 


A  Iciafs  A  rms  (Giovio,  ed.  1562). 


2  12 


CLASSIFICATION. 


[CHAP.  VI. 


SECTION    II. 

HERALDIC    EMBLEMS,     OR    EMBLEMS    APPLIED     TO 
HERALDRY. 

NOTTED  together  as  are  Emblems  and 
the  very  language  of  Heraldry,  we  must 
expect  to  find  Emblem  writers  devoting 
some  at  least  of  their  inventions  to 
heraldic  purposes.  This  has  been  done 
to  a  very  considerable  extent  by  the 
Italians,  especially  by  Paolo  Giovio, 

Domenichi,  Ruscelli,  and  Symeoni  ;  but  in  several  other 
authors  also  there  occur  heraldic  devices  among  their  more 
general  emblems.  These  are  not  full  coats  of  arms  and  the 
complete  emblazonnes  of  "the  gentleman's  science,"  but  rather, 
cognizances,  or  badges,  by  which  persons  and  families  of  note 
may  be  distinguished.  In  this  respect  Shakespeare  entirely 
agrees  with  the  Emblem  writers  ;  neither  he  nor  they  give  us 
the  quarterings  complete,  but  they  single  out  for  honourable 
mention  some  prominent  mark  or  sign. 

I  attempt  not  to  arrange  the  subject  according  to  the  Rules 
of  the  Art,  but  to  exhibit  instances  in  which  Shakespeare 
and  the  Emblematists  agree,  of  Poetic  Heraldry,  the  Heraldry 
of  Reward  for  Heroic  Achievements,  and  the  Heraldry  of 
Imaginative  Devices. 

Of   Poetic  Heraldry  the  chief  type  is  that  bird  of  renown, 


SECT.  II.] 


HERALDIC    EMBLEMS. 


213 


which  was  a  favourite  with  Shakespeare,  and  from  which  he  has 
been  named  by  general  consent,  "  the  Swan  of  Avon."  A  white 
swan  upon  a  shield  occurs  both  in  Alciat  and  in  Whitney,  and  is 
expressly  named  Insignia  Poetarum,  —  "  The  poets'  ensigns." 

The  swan,  in  fact,  was  sacred  to  Apollo  and  the  Muses  ;  and 
hence  was  supposed  to  be  musical.  ^Eschylus,  in  his  Agamem- 
non, makes  Cassandra  speak  of  the  fable,  when  the  Chorus 
bewail  her  sad  destiny  (vv.  1322,  3),  — 


€/JLOV  rbv  avTijs." 

i.e.,  —  "  Yet  once  again  I  wish  for  her  to  speak  forth  prophecy  or 
lamentation,  even  my  own,"  —  and  Clytaemnestra  mentions  the 
singing  of  the  swan  at  the  point  of  death  (vv.  1444-7),  — 

'  '  'O  /uej>  yap  OVTUS  '  ^  8e  rot  KVKVOV  SIKTJV 
rbi*  tiararov  /ieA^atra  Qa.va.aiu.ov  y6ov 
ov8     ejj.ol  §' 


Which  is  to  this  effect  :  that  when  she  has  sung  the  last  mortal 
lamentation,  according  to  the  custom  of  the  swan,  she  lies  down 
as  a  lover,  and  offers  to  me  the 
solace  of  the  bed  of  my  joy. 

This  notion  of  the  singing 
of  the  swan  is  to  be  traced 
eve'n  to  the  hieroglyphics  of 
Egypt.  In  answer  to  the  ques- 
tion, "  riws  yxpovra  /xowtKoV  ;"- 
how  to  represent  "  an  old  man 
musical  ?  "  —  Horapollo,  edition 
Paris,  1551,  p.  136,  replies,:  — 


lepoi/ro  fj.ovaiK^  $uv\6p.evoi 


iiorapoiio,  ed.  i55i. 

iv.   OUTOS  yap  r)SvTarov  fteAos 


i.e.  —  "  Wishing  to  signify  an  old  man  musical,  they  paint  a  swan  ;  for  this 
bird  sings  its  sweetest  melody  when  growing  old." 


2 1 4  CLASSIFICA  TION.  [CHAP  VI. 

Virgil  frequently  speaks  of  swans,  both  as  melodious  and  as 

shrill  voiced.     Thus  in  the  ^ELneid,  vii.  700-3  ;  xi.  457,— 

^ 

"  Cum  sese  e  pastu  referunt,  et  longa  canoros 
Dant  per  colla  modos  :  sonat  amnis  et  Asia  longe 
Pulsa  palus." 

i.e. — "  When  they  return  from  feeding,  and  through  their  long  necks  give  forth 
melodious  measures  ;  the  river  resounds  and  the  Asian  marsh  from  far." 

"  Piscosdve  amne  Padusas 
Dant  sonitum  rauci  per  stagna  loquacia  cycni."  * 

i.e. — "  Or  on  the  fish-abounding  river  Po  the  hoarse  swans  give  forth  a  sound 
through  the  murmuring  pools." 

Horace,  Carm.  iv.  2.  25,  names  Pindar  Dircaum  cycnum,— 
"  the  Dircaean  swan  ; "  and  Carm.  ii.  20.  10,  likens  himself  to  an 
album  alitem, — "~a  white-winged  creature  ; "  which  a  few  lines 
further  on  he  terms  a  canorus  ales, — "  a  melodious  bird," — and 
speaks  of  his  apotheosis  to  immortal  fame.f 

Anacreon  is  called  by  Antipater  of  Sidon,  Anthol.  Grcec. 
Carm.  76,  KVKVOS  TTJIOS, — "  the  TeTan  swan." 

Poets,  too,  after  death,  were  fancifully  supposed  to  assume 
the  form  of  swans.  It  was  believed  also  that  swans  foresaw 
their  own  death,  and  previously  sang  their  own  elegy.  Thus  in 
Ovid,  Metam.  xiv.  430,— 

"  Carmina  jam  monens  canit  exequialia  Cygnus,"— 
"  Now  dying  the  Swan  chants  its  funereal  songs." 

Very  beautifully   does    Plato   advert   to   this    fiction   in   his  , 
account  of  the  conversation  of  Socrates  with  his  friends  on  the  r 
day  of  his  execution.     (See  Phcedon,.  Francfort  edition,   1602, 
p.  77,  64A.)     They  were  fearful  of  causing  him  trouble  and  vexa- 
tion ;  but  he  reminds  them  they  should  not  think  him  inferior  in 
foresight  to  the  swans  ;  for  these, — 


*  See  also  Ed.  ix.  29,  36. 


SECT.  II.]  HERALDIC    EMBLEMS.  215 

"  Fall  a  singing,  as  soon  as  they  perceive  that  they  are  about  to  die,  and 
sing  far  more  sweetly  than  at  any  former  time,  being  glad  that  they  are  about 
to  go  away  to  the  God  whose  servants  they  are.  .  .  .  They  possess  the 
power  of  prophesying,  and  foreseeing  the  blessings  of  Hades  they  sing  and 
rejoice  exceedingly.  Now  I  imagine  that  I  am  also  a  fellow- servant  with  the 
Swans  and  sacred  to  the  same  God,  and  that  I  have  received  from  the  same 
Master  a  power  of  foresight  not  inferior  to  theirs,  so  that  I  could  depart  from 
life  itself  with  a  mind  no  more  cast  down." 

Thus  the  melodious  dirge  of  the  swan  was  attributed  to  the 
same  kind  of  prescience  which  enables  good  men  to  look  for- 
ward with  delight  to  that  time  "  when  this  mortal  shall  put  on 
immortality." 

The  "  PlCTA  POESIS,"  p.  28,  adopts  the  same  fancy  of  the 
swan  singing  at  the  end  of  life,  but  makes  it  the  emblem  of  "  old 
age  eloquent."  Thus, — 

"  FACVNDA  SENECTVS. 

"  CANDIDA  Cygnus  auis  suprema  aetate  canora  est  : 

Inquam  verti  homines  tabula  picta  docet, 
Nam  sunt  canitie  Cygni  dulciq.  canore, 

Virtute  illustres,  eloquioque  senes. 
Dulce  vetus  innum  :  senis  est  oratio  dulcis, 
Dulcior  hoc  ipso  qub  sapientior  est" 

i.e. — "  At  the  end  of  life  tuneful  is  the  bird,  the  white  swan,  into  which  the 
painted  tablet  teaches  that  men  are  changed,  for  swans  are  illustrious  from 
hoariness  and  the  sweet  singing,  old  men  illustrious  for  virtue  and  for  elo- 
quence. Old  wine  is  sweet ;  of  an  old  man  sweet  is  the  speech  ;  sweeter, 
for  this  very  cause,  the  wiser  it  is." 

Shakespeare  himself  adopts  this  notion  in  the  Merchant  of 
Venice  (act  i.  sc.  2,  1.  24,  vol.  ii.  p.  286),  when  he  says,  "  Holy 
men  at  their  death  have  good  inspirations." 

Reusner,  however,  luxuriating  in  every  variety  of  silvery  and 
snowy  whiteness,  represents  the  swan  as  especially  the  symbol  of 
the  pure  simplicity  of  truth.  (Emblemata,  lib.  ii.  31,  pp.  91,  92, 
ed.  1581.) 


2l6 


CLASSIFICA  TION. 

Simplicitas  veri  fana. 


[CHAP.  VI. 


Reusner,  1581. 
EMBLEMA     XXXI. 

"  Albo  candidius  quid  est  olore, 
Argento,  nine,  lilio,  ligustro? 
Fides  Candida,  candiditf  mores, 
Et  mens  Candida,  candidi  sodalis. 
Te  Schedi  niueamfidem  Melisse, 
Moratum  dene,  candidamq^  mentem 
Possidere  sodalis  integelli : 
Ligustro  niueo  nitentiorem  : 
Argento  niueo  beatiorem : 
A  Ibis  liliolis  fragrantiorem  : 
Cygnis  cdndidulis  decentiorem : 
Armorum  niueus  docet  tuoruvi 
Cygnus :  liliolis  decorus  albis : 
Ph&bea  redimitus  or  a  lauro. 
Albo  candidior  cygnus  ligustro  : 
Argento  preciosior  beato  : 
Cui  nee  par  eboris  decus,  nee  auri, 
Nee  gemmce  valor  est,  nitorq'  pulcrce : 
Et  si  pulcrius  est  in  orbe  quicquam" 

i.e. — "  Than  a  white  swan  what  is  brighter, — than  silver,  snow,  the  lily,  the 
privet  ?  Bright  faith  and  bright  morals, — and  the  bright  mind  of  a  bright 
companion.  That  thou  of  good  morals,  O  Schedius  Melissus,  dost  possess 
snow-like  faith,  and  the  bright  mind  of  an  uncorrupted  companion  ; — that 
(thou  art)  more  fair  than  the  snowy  privet, — more  blessed  than  the  snowy 
silver, — more  fragrant  than  the  white  lilies, — more  comely  than  the  little 
bright  swans,— the  snowy  swan  on  thy  arms  doth  teach  :  a  swan  handsome 


SECT.  II.]  HERALDIC    EMBLEMS.  217 

with  white  lilies,  encircled  as  to  its  features  with  the  laurel  of  Phoebus  ;  a 
swan  brighter  than  the  white  privet, — more  precious  than  the  blessed  silver  ; 
to  which  cannot  be  equalled  the  comeliness  of  ivory,  or  of  gold  ;  nor  the 
worth  and  the  splendour  of  a  beautiful  gem :  and  if  in  the  world  there  is  any 
thing  more  beautiful  still." 

To  a  short,  but  very  learned  dissertation  on  the  subject,  and 
to  the  device  of  a  swan  on  a  tomb,  in  his  work,  DC  Volatilibus, 
edition  1595,  Emb.  23,  Joachim  Camerarius  affixes  the  motto, 
"  SlBl  CANIT  ET  ORBI,"— //  sings  for  itself  and  for  the  world— 

"  ipsa  suam  celebrat  sibi  mens  bene  conscia  mortem, 
Vt  solet  herbiferum  Cygnus  ad  Eridanum? 

i.e. — "  The  mind  conscious  of  good  celebrates  its  own  death  for  itself;  as  the 
swan  is  accustomed  to  do  on  the  banks  of  the  grassy  Eridanus."  * 

Shakespeare's  expressions,  however,  as  to  the  swan,  cor- 
respond more  closely  with  the  stanzas  of  Alciat  (edition 
Lyons,  1551,  p.  197)  which  are  contained  in  the  woodcut  on 
next  page. 

Whitney  (p.  126)  adopts  the  same  ideas,  but  enlarges  upon 
them,  and  brings  out  a  clearer  moral  interpretation,  fortifying 
himself  with  quotations  from  Ovid,  Reusner,  and  Horace, — 

\ 
F^HE  Martiall  Captaines  ofte,  do  marche  into  the  fielde, 

With  Egles,  or  with  Griphins  fierce,  or  Dragons,  in  theire  shielde. 
But  Phoebus  sacred  birde,  let  Poettes  moste  commende. 
Who,  as  it  were  by  skill  deuine,  with  songe  forshowes  his  ende. 
And  as  his  tune  delightes  :  for  rarenes  of  the  same. 
So  they  with  sweetenes  of  theire  verse,  shoulde  winne  a  lasting  name. 
And  as  his  colour  white  :  Sincerenes  doth  declare. 
So  Poettes  must  bee  cleane,  and  pure,  and  must  of  crime  beware. 
For  which  respectes  the  Swanne,  should  in  their  Ensigne  stande. 
No  forren  fowle,  and  once  suppos'de  kinge  of  LlGVRlA  Lande." 


*  The  same  author  speaks  also  of  the  soft  Zephyr  moderating  the  sweet  sounding 
song  of  the  swan,  and  of  sweet  honour  exciting  the  breasts  of  poets  ;  and  presents  the 
swan  as  saying,  "  I  fear  not  lightnings,  for  the  branches  of  the  laurel  ward  them  off; 
so  integrity  despises  the  insults  of  fortune." — Emb.  24  and  25. 

F    F 


218 


CLASSIFICA  TION. 


[CHAP.  VI. 


Infignia  Poetarum. 


Gentiles  clypeos  funt  qul  in  louis  allte  geflant, 
Sunt  quibus  aut  Serpens,  aut  Leo  figna  ferunt 

Dirafed  heec  Vatumfugiant  animalia  ceras, 
Doftaqt  fuftineat  ftemmata  pulcher  Olor. 

Hie  Phcebo  facer,  Gf  nqflra  regionis  alumnus  : 
Rex.  dim  <veteres  feruat  adhuc  titulos. 


Alcint,  Liigd.  1551,  p.  197. 


In  the  very  spirit  of  these  Emblems  of  the  Swan,  the  great 
dramatist  fashions  some  of  his  poetical  images  and  most  tender 


SECT.  II.]  HERALDIC    EMBLEMS.  219 

descriptions.  Thus  in  King  John  (act  v.  sc.  7,  lines  I  —  24, 
vol.  iv.  p.  91),  in  the  Orchard  Scene  at  Swinstead  Abbey, 
the  king  being  in  his  mortal  sickness,  Prince  Henry  demands, 
"  Doth  he  still  rage  ?  "  And  Pembroke  replies, — 

"  He  is  more  patient 
Than  when  you  left  him  ;  even  now  he  sung. 

P.  Hen.  O  vanity  of  sickness  !  fierce  extremes 
In  their  continuance  will  not  feel  themselves. 
Death,  having  prey'd  upon  the  outward  parts, 
Leaves  them  invisible,  and  his  siege  is  now 
Against  the  mind,  the  which  he  pricks  and  wounds 
With  many  legions  of  strange  fantasies, 
Which  in  their  throng  and  press  to  that  last  hold, 
Confound  themselves.     Tis  strange  that  death  should  sing. 
I  am  the  cygnet  to  this  pale  faint  swan, 
Who  chants  a  doleful  hymn  to  his  own  death, 
And  from  the  organ  pipe  of  frailty  sings 
His  soul  and  body  to  their  lasting  rest." 

To  the  same  purport,  in  Henry  VIII.  (act  iv.  sc.  2,  1.  77, 
vol.  vi.  p.  88),  are  the  words  of  Queen  Katharine,  though  she 
does  not  name  the  poet's  bird, — 

"  I  have  not  long  to  trouble  thee.     Good  Griffith, 
Cause  the  musicians  play  me  that  sad  note 
I  named  my  knell,  whilst  I  sit  meditating 
On  that  celestial  harmony  I  go  to." 

And  in  the  Casket  Scene,  so  often  alluded  to  (Merchant  of 
Venice,  act  iii.  sc.  2,  1.  41,  vol.  ii.  p.  325),  when  Bassanio  is  about 
to  try  his  fortune,  Portia  thus  addresses  him, — 

"  If  you  do  love  me,  you  will  find  me  out. 
Nerissa  and  the  rest,  stand  all  aloof. 
Let  music  sound  while  he  doth  make  his  choice  ; 
Then,  if  he  lose,  he  makes  a  swan-like  end, 
Fading  in  music  :  that  the  comparison 
May  stand  more  proper,  my  eye  shall  be  the  stream, 
And  watery  death-bed  for  him.     He  may  win  ; 


220  CLASSIFICATION.  [CHAP.  VI. 

And  what  is  music  then  ?     Then  music  is 
Even  as  the  flourish  when  true  subjects  bow 
To  a  new-crowned  monarch  :  such  it  is 
As  are  those  dulcet  sounds  in  break  of  day 
That  creep  into  the  dreaming  bridegroom's  ear 
And  summon  him  to  marriage." 

In  the  sad  ending,  too,  of  the  Moor  of  Venice  (act  v.  sc.  2, 
1.  146,  vol.  viii.  p.  581),  after  Othello  had  said  of  Desdemona, — 

"Nay,  had  she  been  true, 
If  heaven  would  make  me  such  another  world 
Of  one  entire  and  perfect  chrysolite, 
I'd  not  have  sold  her  for  it : " 

and  the  full  proof  of  innocence  having  been  brought  forward, 
Emilia  desires  to  be  laid  by  her  dead  "  Mistress'  side/'  and 
inquires  mournfully  (1.  249,  p.  586), — 

"  What  did  thy  song  bode,  lady  ? 
Hark,  canst  thou  hear  me  ?     I  will  play  the  swan, 
And  die  in  music.  {Singing^  Willow,  willow,  willow. 
Moor,  she  was  chaste  ;  she  loved  thee,  cruel  Moor, 
So  come  my  soul  to  bliss,  as  I  speak  true  ; 
So  speaking  as  I  think,  I  die,  I  die.  [Dies.]  " 

After  this  long  dissertation  anent  swans,  there  may  be 
readers  who  will  press  hard  upon  me  with  the  couplet  from 
Coleridge, — 

"  Swans  sing  before  they  die  :  'twere  no  bad  thing, 
Should  certain  -persons  die  before  they  sing." 

From  Heraldry  itself  the  Midsummer  Nighfs  Dream  (act  iii. 
sc.  2,  1.  20 1,  vol.  ii.  p.  239)  borrows  one  of  its  most  beautiful 
comparisons ;  it  is  in  the  passage  where  Helena  so  passionately 
reproaches  Hermia  for  supposed  treachery, — 

"  O,  is  all  forgot  ? 

All  school-days'  friendship,  childhood  innocence  ? 
We,  Hermia,  like  two  artificial  gods, 


SECT.  II.]  HERALDIC    EMBLEMS.  221 

Have  with  our  needles  created  both  one  flower, 

Both  on  one  sampler,  sitting  on  one  cushion, 

Both  warbling  of  one  song,  both  in  one  key  ; 

As  if  our  hands,  our  sides,  voices,  and  minds, 

Had  been  incorporate.     So  we  grew  together, 

Like  to  a  double  cherry,  seeming  parted ; 

But  yet  an  union  in  partition, 

Two  lovely  berries  moulded  on  one  stem  ; 

So,  with  two  seeming  bodies,  but  one  heart ; 

Two  of  the  first,  like  coats  in  heraldry, 

Due  but  to  one,  and  crowned  with  one  crest." 

In  speaking  of  the  Heraldry  of  Heroic  Achievements,  we 
may  refer  to  the  "wreath  of  chivalry"  (p.  168),  already 
described  from  the  Pericles.  There  were,  however,  other 
wreaths  which  the  Romans  bestowed  as  the  rewards  of  great 
and  noble  exploits.  Several  of  these  are  set  forth  by  the 
Emblem  writers;  we  will  select  one  from  Whitney  (p.  115), 
Fortiter  &  feliciter, — "  Bravely  and  happily." 


Whitney,  1586. 


222  CLASSIFICATION.  [CHAP.  VI. 

To  this  device  of  an  armed  hand  grasping  a  spear,  on  which 
are  hanging  four  garlands  or  crowns  of  victory,  the  stanzas 
are, — 

"  T\/TARC  SERGIVS  nowe,  I  maye  recorde  by  righte, 
*'•*•  A  Romane  boulde,  whome  foes  coulde  not  dismaye  : 
Gainste  HANNIBAL  hee  often  shewde  his  mighte, 
Whose  righte  hande  loste,  his  lefte  hee  did  assaye 
Vntill  at  lengthe  an  iron  hande  hee  proou'd  : 
And  after  that  CREMONA  siege  remoou'd. 

Then,  did  defende  PLACENTIA  in  distresse, 
And  wanne  twelue  houldes,  by  dinte  of  sworde  in  France, 
What  triumphes  great  ?  were  made  for  his  successe, 
Vnto  what  state  did  fortune  him  aduance  ? 

What  speares  ?  what  crounes  ?  what  garlandes  hee  possest ; 

The  honours  due  for  them,  that  did  the  beste." 

Of  such  honours,  like  poets  generally,  Shakespeare  often 
tells.  After  the  triumph  at  Barnet  (3  Henry  VI.,  act  v.  sc.  3, 
1.  I,  vol.  v.  p.  324),  King  Edward  says  to  his  friends, — 

"  Thus  far  our  fortune  keeps  an  upward  course, 
And  we  are  grac'd  with  wreaths  of  victory." 

Wreaths  of  honour  and  of  victory  are  figured  by  Joachim 
Camerarius,  "Ex  RE  HERBARIA,"  edition  1590,  in  the  QQth 
Emblem.     The   laurel,   the   oak,   and   the   olive   garlands    are 
ringed  together ;  the  motto  being,  "  His  ORNARI  AVT  MORI,"- 
With  these  to  be  adorned  or  to  die, — 

"  Fronde  olece,  lauri,  quercus  contexta  corolla 
Me  decoret,  sine  qua  viuere  triste  mihi? — 

/.*,  "  From  bough  of  olive,  laurel,  oak,  a  woven  crown 

Adorns  me,  without  which  to  live  is  sadness  to  me." 

Among  other  illustrations  are  quoted  the  words  of  the  Iliad, 
which  are  applied  to  Hector,  re0wra>,  ov  ol  deiKes  d/*wojueW  Trept 
Trends, — «  Let  death  come,  it  is  not  unbecoming  to  him  who  dies 
defending  his  country." 


SECT.  II.]  HERALDIC    EMBLEMS.  223 

Of  the  three  crowns  two  are  named  (3  Henry  VI.,  act  iv. 
sc.  6,  1.  32,  vol.  v.  p.  309),  when  Warwick  rather  blames  the  king 
for  preferring  him  to  Clarence,  and  Clarence  replies, — 

"  No,  Warwick,  thou  art  worthy  of  the  sway, 
To  whom  the  heavens  in  thy  nativity 
Adjudged  an  olive  branch  and  laurel  crown, 
As  likely  to  be  blest  in  peace  and  war, 
And  therefore  I  yield  thee  my  free  consent." 

The  introduction  to  King  Richard  III.  (act  i.  sc.  i,  1.  i,  vol.  v. 
p.  473)  opens  suddenly  with  Gloster's  declaration, — 

"  Now  is  the  winter  of  our  discontent 
Made  glorious  summer  by  this  sun  of  York  ; 
And  all  the  clouds,  that  lour'd  upon  our  house, 
In  the  deep  bosom  of  the  ocean  bury'd." 

"  Sun  of  York  "  is  a  direct  allusion  to  the  heraldic  cognizance 
which  Edward  IV.  adopted,  "  in  memory,"  we  are  told,  "  of  the 
three  suns,"  which  are  said  to  have  appeared  at  the  battle  which 
he  gained  over  the  Lancastrians  at  Mortimer's  Cross.  Richard 
then  adds,— 

"  Now  are  our  brows  bound  with  victorious  wreaths, 
Our  bruised  arms  hung  up  for  monuments  ; 
Our  stern  alarums  changed  to  merry  meetings, 
Our  dreadful  marches  to  delightful  measures." 

We  meet,  too,  in  the  Pericles  (act  ii.  sc.  3,  1.  9,  vol.  ix.  p.  345) 
with  the  words  of  Thaisa  to  the  victor, — 

"  But  you,  my  knight  and  guest ; 
To  whom  this  wreath  of  victory  I  give, 
And  crown  you  king  of  this  day's  happiness." 

But  in  the  pure  Roman  manner,  and  according  to  the  usage 
of  Emblematists,  Shakespeare  also  tells  of  "victors'  crowns;" 
following,  as  would  appear,  "  LES  DEVISES  HEROIQVES "  of 
Paradin,  edition  Anvers,  1562,  f.  147  verso,  which  contains 


224 


CLASS1FICA  TION. 


[CHAP.   VI. 


several  instances  of  garlands  for  noble  brows.  Of  these,  one  is 
entitled,  Seruati  gratia  ciuis, — "  For  sake  of  a  citizen  saved." 

The  garland  is  thus 
described  in  Paradin's 
French, — 

"La  Courone,  ape  lie  e  Ciuique, 
eftoit  do  nee  par  le  Citoye,  au  Cltoye 
quil  auoit  fauue  en  guerre  :  en 
reprefentatio  de  <vie  fauue  e.  Et 
eftoit  cete  Courone,  tijjue  de 

fueillesj  ou  petis  rameaus  de 
Chefne:  pour  autat  qu  au  Chefne, 
la  <vielle  antiquite,  fouloit  predre 

fa  fubftace,  fo  mager,  ou  fa 
nourriture." 

i.e.—"  The  crown  called  Civic 
was  given  by  the  Citizen  to 
the  Citizen*  whom  he  had 
saved  in  war  ;  in  testimony  of 

life  saved.  And  this  Crown  was  an  inweaving  of  leaves  or  small  branches 
of  Oak  ;  inasmuch  as  from  the  Oak,  old  antiquity  was  accustomed  to  take 
its  subsistence,  its  food,  or  its  nourishment." 

"  Among  the  rewards "  for  the  Roman  soldiery,  remarks 
Eschenburg  (Manual  of  Classical  Literature,  p.  274),  "golden  or 
gilded  crowns  were  particularly  common  ;  as,  the  corona  cas- 
trensis,  or  vallaris,  to  him  who  first  entered  the  enemy's  entrench- 
ments ;  corona  muralis,  to  him  who  first  scaled  the  enemy's 
walls  ;  and  corona  navalis,  for  seizing  a  vessel  of  the  enemy  in  a 
sea-fight ;  also  wreaths  and  crowns  formed  of  leaves  and  blossoms ; 
as  the  corona  civica,  of  oak  leaves,  conferred  for  freeing  a  citizen 
from  death  or  captivity  at  the  hands  of  the  enemy  ;  the  corona 
obsidionalis,  of  grass,  for  delivering  a  besieged  city  ;  and  the 
corona  triumphalis,  of  laurel,  worn  by  a  triumphing  general." 

*  Paradin's  words  and  his  meaning  differ ;  the  Civic  crown  was  bestowed,  not  on 
the  citizen  saved,  but  on  the  citizen  who  delivered  him  from  danger. 


SECT.  II.]  HERALDIC    EMBLEMS.  225 

Shakespeare's  acquaintance  with  these  Roman  customs  we 
find,  where  we  should  expect  it  to  be,  in  the  Coriolamis  and  in 
the  Julitis  Ccesar.  Let  us  take  the  instances  ;  first,  from  the 
Coriolanus,  act  i.  sc.  9,  1.  58,  vol.  vi.  p.  304  ;  act  i.  sc.  3,  1.  7, 
p.  287  ;  act  ii.  sc.  2,  1.  84,  p.  323  ;  and  act  ii.  sc.  i,  1.  109,  p.  312. 
Cominius  thanks  the  gods  that  "  our  Rome  hath  such  a  soldier" 
as  Caius  Marcius,  and  declares  (act  i.  sc.  9,  1.  58), — 

"  Therefore,  be  it  known, 
As  to  us,  to  all  the  world,  that  Caius  Marcius 
Wears  this  war's  garland  :  in  token  of  the  which, 
My  noble  steed,  known  to  the  camp,  I  give  him, 
With  all  his  trim  belonging  ;  and  from  this  time, 
For  what  he  did  before  Corioli,  call  him, 
With  all  the  applause  and  clamour  of  the  host, 
CAIUS  MARCIUS  CORIOLANUS.    Bear 
The  addition  nobly  ever  ! " 

With  most  motherly  pride  Volumnia  rehearses  the  brave 
deed  to  Virgilia,  her  son's  wife  (act  i.  sc.  3,  1.  7), — 

"  When,  for  a  day  of  kings'  entreaties,  a  mother  should  not  sell  him  an 
hour  from  her  beholding  ;  I,  considering  how  honour  would  become  such  a 
person  ;  that  it  was  no  better  than  picture-like  to  hang  by  the  wall,  if  renown 
made  it  not  stir,  was  pleased  to  let  him  seek  danger  where  he  was  like  to  find 
fame.  To  a  cruel  war  I  sent  him  ;  from  whence  he  returned,  his  brows  bound 
with  oak.  I  tell  thee,  daughter,  I  sprang  not  more  in  joy  at  first  hearing 
he  was  a  man-child  than  now  in  first  seeing  he  had  proved  himself  a  man." 

And  the  gaining  of  that  early  renown  is  most  graphically 
drawn  by  Cominius,  the  consul  (act  ii.  sc.  2,  1.  84),— 

"  At  sixteen  years, 

When  Tarquin  made  a  head  for  Rome,  he  fought 
Beyond  the  mark  of  others  :  our  then  dictator, 
Whom  with  all  praise  I  point  at,  saw  him  fight, 
When  with  his  Amazonian  chin  he  drove 
The  bristled  lips  before  him  :  he  bestrid 
An  o'er  press'd  Roman,  and  i'  the  consul's  view 
Slew  three  opposers  :  Tarquin's  self  he  met, 
And  struck  him  on  his  knee  :  in  that  day's  feats, 

G  G 


226  CLASSIFICATION.  [CHAP.  VI. 

When  he  might  act  the  woman  in  the  scene, 
He  proved  best  man  i'  the  field,  and  for  his  meed 
Was  brow-bound  with  the  oak.     His  pupil  age 
Man-enter'd  thus,  he  waxed  like  a  sea  ; 
And,  in  the  brunt  of  seventeen  battles  since, 
He  lurch'd  all  swords  of  the  garland." 

The  successful  general  is  expected  in  Rome,  and  this  dialogue 
is  held  between  Menenius,  Virgilia,  and  Volumnia  (act  ii.  sc.  i, 
1.  109,  p.  312),— 

"  Men.  Is  he  not  wounded  ?  he  was  wont  to  come  home  wounded. 

Vir.  O,  no,  no,  no. 

Vol.  O,  he  is  wounded  ;  I  thank  the  gods  for't. 

Men.  So  do  I  too,  if  it  be  not  too  much  :  brings  a'  victory  in  his  pocket? 
The  wounds  become  him. 

Vol.  On's  brows  :  Menenius,  he  comes  the  third  time  home  with  the 
oaken  garland." 

Next,  we  have  an  instance  from  the  Julius  Ccesar  (act  v. 
sc.  3,  1.  80,  vol.  vii.  p.  409),  on  the  field  of  Philippi,  when  "  in 
his  red  blood  Cassius'  day  is  set,"  Titanius  asks, — 

"  Why  didst  thou  send  me  forth,  brave  Cassius  ? 
Did  I  not  meet  thy  friends  ?  and  did  not  they 
Put  on  my  brows  this  wreath  of  victory, 
And  bid  me  give  it  thee  ?     Didst  thou  not  hear  their  shouts  ? 
Alas,  thou  hast  misconstrued  every  thing  ! 
But,  hold  thee,  take  this  garland  on  thy  brow  ; 
Thy  Brutus  bid  me  give  it  thee,  and  I 
Will  do  his  bidding." 

The  heraldry  of  honours  from  sovereign  princes,  as  testified 
to,  both  by  Paradin  in  his  "DEVISES  HEROIQVES,"  edition 
Antwerp,  1562,  folio  I2v,  and  25,  26,  and  by  Shakespeare, 
embraces  but  two  or  three  instances,  and  is  comprised  in  the 
magniloquent  lines  (i  Henry  VI.,  act  iv.  sc.  7,  1.  60,  vol.  v.  p.  80) 
in  which  Sir  William  Lucy  inquires, — 

"  But  where's  the  great  Alcides  of  the  field, 
Valiant  Lord  Talbot,  Earl  of  Shrewsbury, 


SECT.  II.] 


HERALDIC    EMBLEMS. 


227 


Created,  for  his  rare  success  in  arms, 

Great  Earl  of  Washford,  Waterford  and  Valence  ; 

Lord  Talbot  of  Goodrig  and  Urchinfield, 

Lord  Strange  of  Blackmere,  Lord  Verdun  of  Alton, 

Lord  Cromwell  of  Wingfield,  Lord  Furnival  of  Sheffield, 

The  thrice-victorious  Lord  of  Falconbridge  : 

Knight  of  the  noble  order  of  Saint  George, 

Worthy  Saint  Michael  and  the  Golden  Fleece  ; 

Great  marshal  to  Henry  the  Sixth 

Of  all  his  wars  within  the  realm  of  France  ? " 

From  Paradin  we  learn  that  the  Order  of  St.  Michael  had 
for  its  motto  Immensi  tremor  Oceani, — "The  trembling  of  the 
immeasurable    ocean," — and 
for   its  badge  the  adjoining 
collar. — 

"  This  order  was  instituted  by 
Louis  XL,  King  of  France,  in  the 
year  1469.*  He  directed  for  its 
ensign  and  device  a  collar  of  gold, 
made  with  shells  laced  together 
in  a  double  row,  held  firm  upon 
little  chains  or  meshes  of  gold  ; 
in  the  middle  of  which  collar  on 
a  rock  was  a  gold-image  of  Saint 
Michael,  appearing  in  the  front. 
And  this  the  king  did  (with  re- 
spect to  the  Archangel)  in  imita- 
tion of  King  Charles  VII.  his 
father ;  who  had  formerly  borne 
that  image  as  his  ensign,  even  at 
his  entry  into  Rouen.  By  reason 

always  (it  is  said)  of  the  apparition,  on  the  bridge  of  Orleans,  of  Saint  Michael 
defending  the  city  against  the  English  in  a  famous  attack.  This  collar  then 
of  the  royal  order  and  device  of  the  Knights  of  the  same  is  the  sign  or 
true  ensign  of  their  nobleness,  virtue,  concord,  fidelity  and  friendship ; 
Pledge,  reward  and  remuneration  of  their  valour  and  prowess.  By  the 
richness  and  purity  of  the  gold  are  pointed  out  their  high  rank  and  grandeur ; 


Paradin,  ed.  1562, /.  12?'. 


*  Consequently  there  is  an  anachronism  by  Shakespeare  in  assigning  the  order  of 
St.  Michael  to  "  valiant  Lord  Talbot,  Earl  of  Shrewsbury,"  who  was  slain  in  1453. 


228 


CLASSIFICA  TION. 


[CHAr.  VI, 


Precium  non  vile  laborum, — 
"No  mean  reward  of  labours." 


by  the  similarity  or  likeness  of  its  shells,  their  equality,  or  the  equal 
fraternity  of  the  Order  (following  the  Roman  senators,  who  also  bore 
shells  on  their  arms  for  an  ensign  and  a  device) ;  by  the  double  lacing 
of  them  together,  their  invincible  and  indissoluble  union ;  and  by  the 
image  of  Saint  Michael,  victory  over  the  most  dangerous  enemy.  A 
device  then  instituted  for  the  solace,  protection  and  assurance  of  this  so 
noble  a  kingdom  ;  and,  on  the  contrary,  for  the  terror,  dread  and  confusion 
of  the  enemies  of  the  same." 

Paradin    (f.    25)  is   also   our   authority  with   respect   to   the 
Order  of  the  Golden  Fleece,  its  motto  and  device  being  thus 

presented : — 

"The  order  of  the  Golden 
Fleece,"  says  Paradin,  "  was  in- 
stituted by  Philip,  Duke  of  Bur- 
gundy, styled  the  Good,  in  the 
year  1429,  for  which  he  named* 
twenty-four  Knights  without  re- 
proach, besides  himself,  as  chief 
and  founder,  and  gave  to  each 
one  of  them  for  ensign  of  the 
said  Order  a  Collar  of  gold 
composed  of  his  device  of  the 
Fusil,  with  the  Fleece  of  gold 
appearing  in  front ;  and  this  (as 
people  say)  was  in  imitation  of 
that  which  Jason  acquired  in 
Colchis,  taken  customarily  for 
Virtue,  long  so  much  loved  by 
this  good  Duke,  that  he  merited 
this  surname  of  Goodness,  and 
other  praises  contained  on  his 
Epitaph,  where  there  is  men- 
tion made  of  this  Order  of  the 
Fleece,  in  the  person  of  the 
Duke  saying, — 


Paradiu,  1562. 


Pour  maintenir  1'Eglise,  qui  est  de  Dieu  maison, 

J'ai  mis  sus  le  noble  Ordre,  qu'on  nomme  la  Toison.'" 


*  The  name  of  Lord  Talbot,  Earl  of  Shrewsbury,  does  not  occur  in  the  list  which 
Paradin  gives  of  the  twenty-four  Knights  Companions  of  the  Golden  Fleece. 


SECT.  II.] 


HERALDIC    EMBLEMS. 


229 


The  expedition  of  the  Argonauts,  and  Jason's  carrying  off 
of  the  Golden  Fleece  may  here  be  appropriately  mentioned  ; 
they  are  referred  to  by  the  Emblem  writers,  as  well  as  the 
exploit  of  Phrixus,  the  brother  of  Helle,  in  swimming  across 
the  Hellespont  on  the  golden-fleeced  ram.  The  former 
Whitney  introduces  when  describing  the  then  new  and 
wonderful  circumnavigation  of  the  globe  by  Sir  Francis 
Drake  (p.  203), — 

"  Let  GR^ECIA  then  forbeare,  to  praise  her  IASON  boulde  ? 
Who  throughe  the  watchfull  dragons  pass'd,  to  win  the  fleece  of  goulde. 
Since  by  MEDEAS  helpe,  they  weare  inchaunted  all, 
And  IASON  without  perrilles,  pass'de  :  the  conqueste  therfore  small  ? 
But,  hee,  of  whome  I  write,  this  noble  minded  DRAKE, 
Did  bringe  away  his  goulden  fleece,  when  thousand  eies  did  wake." 

The   latter    forms   the   subject   of    one   of    Alciat's   Emblems, 

edition      Antwerp, 

1581,  Emb.  189,  in  Diues  iudo£his. 

which,    seated    on 

the  precious  fleece, 

Phrixus  crosses  the 

waters,  and  fearless 

in  the  midst  of  the 

sea      mounts      the 

tawny     sheep,    the 

type  of  "the   rich 

man       unlearned." 

Whitney    (p.    214) 

substitutes  In  diui- 

tem,      indoctum,  - 

"To  the  rich  man, 

unlearned,"  —  and 

thus       paraphrases 

the  original, — 


A  lei  at,  1551. 

Tranat  aquas  rejides  preciofo  in  welters  Phrixus , 

Et  flauam  impauidus  per  mare  fcandit  ouem. 
EC  quid  id  est  ?  <vir  fenju  hebeti,  fed  diuite  gaza, 
Coniugis  aut  ferui  quern  regit  arbitrator. 


230  CLASSIFICATION.  [CHAP.  VI. 

"  f~\  N  goulden  fleece,  did  Phryxus  passe  the  waue, 
\^  And  landed  safe,  within  the  wished  baie  : 
By  which  is  ment,  the  fooles  that  riches  haue, 
Supported  are,  and  borne  throughe  Lande,  and  Sea  : 
And  those  enrich'de  by  wife,  or  seruauntes  goodds, 
Are  borne  by  them  like  Phryxus  through  the  floodds." 

In  a  similar  emblem,  Beza,  edition  Geneva,  1580,  Emb.  3, 
alludes  to  the  daring  deed  of  Phrixus, — 

"  Aurea  mendaci  vates  non  vnicvs  ore 

Vellera  phrixea  commemorauit  outs. 
Nos,  te,  Christe,  agnum  canimus.     Nam  dinite  gestas 
Tu  vert  veras  welfare  sohis  opes.'1'' 

Thus  rendered  in  the  French  version, — 

"  Maint  poete  dis court  de  sa  bouche  menteuse 
Sur  vne  toison  d'or.     Noiis,  a  iuste  raison, 
Te  chantons,  Christ,  agneau,  dont  la  riche  toison 
Est  Vvnique  thresor  qui  rend  PEglise  heureuse." 

The  Merchant  of  Venice  (act.  i.  sc.  i,  1.  161,  vol.  ii.  p.  284) 
presents  Shakespeare's  counterpart  to  the  Emblematists ;  it  is  in 
Bassanio's  laudatory  description  of  Portia,  as  herself  the  golden 
fleece, — 

"  In  Belmont  is  a  lady  richly  left  ; 
And  she  is  fair,  and,  fairer  than  that  word, 
Of  wondrous  virtues  :  sometimes  from  her  eyes 
I  did  receive  fair  speechless  messages  : 
Her  name  is  Portia  ;  nothing  undervalued 
To  Cato's  daughter,  Brutus'  Portia  : 
Nor  is  the  wide  world  ignorant  of  her  worth  ; 
For  the  four  winds  blow  in  from  every  coast 
Renowned  suitors  :  and  her  sunny  locks 
Hang  on  her  temples  like  a  golden  fleece  : 
Which  makes  her  seat  of  Belmont  Colchos  strand, 
And  many  Jasons  come  in  quest  of  her." 

To  this  may  be  added  a  line  or  two  by  Gratiano,  1.  241,  p.  332, — 

"  How  doth  that  royal  merchant,  good  Antonio  ? 
I  know  he  will  be  glad  of  our  success  ; 
We  are  the  Jasons,  we  have  won  the  fleece." 


SECT.  II.] 


HERALDIC    EMBLEMS. 


231 


The  heraldry  of  Imaginative  Devices  in  its  very  nature  offers 
a  wide  field  where  the  fancy  may  disport  itself.  Here  things 
the  most  incongruous  may  meet,  and  the  very  contrariety  only 
justify  their  being  placed  side  by  side. 

Let  us  begin  with  the  device,  as  given  in  the  "  TETRASTICHI 
MORALI,"  p.  56,  edition  Lyons,  1561,  by  Giovio  and  Symeoni, 
used  between  1498  and  1515  ;  it  is  the  device 

D  I     L  VI  GI     XII.     RE 

D  I     F  RAN  C  I  A. 


Gicn'io  and  Symeoni,  1561. 


to  the  motto,  "  Hand  to  hand  and  afar  off," — 


Cominus 
£  eminus. 


Di  lontano  &f  da  preffb  il  Re  Luigi, 
Feri'l  nimico,  &  lo  ridujje  a  tale, 
Che  dair  Indico  al  lito  Occidentale 
Difua  <virtujl  <veggiono  i  <veftigi. 


A  Porcupine  is  the  badge,  and  the  stanza  declares,- 


232  CLASSIFICATION.  [CHAP.  VI. 

"  From  far  and  from  near  the  King  Louis, 
Smites  the  enemy  and  so  reduces  him, 
That  from  the  Indian  to  the  Western  shore, 
Of  his  valour  the  traces  are  seen." 

Camerarius  with  the  same  motto  and  the  like  device  testifies 
that  this  was  the  badge  of  Louis  XL,  king  of  France,  to  whose 
praise  he  also  devotes  a  stanza, — 

"  Cominus  ut pugnat  jaculis,  atq.  eminus  histrix, 
Rex  bonus  esto  armis  consiliisque  potens." 

i.e.        "  As  close  at  hand  and  far  off  the  porcupine  fights  with  its  spines, 
Let  a  good  king  be  powerful  in  arms  and  in  counsels." 

It  was  this  Louis  who  laid  claim  to  Milan,  and  carried  Ludovic 
Sforza  prisoner  to  France.  He  defeated  the  Genoese  after  their 
revolt,  and  by  great  personal  bravery  gained  the  victory  of 
Agnadel  over  the  Venetians  in  1509.  At  the  same  time  he 
made  war  on  Spain,  England,  Rome,  and  Switzerland,  and  was 
in  very  deed  the  porcupine  darting  quills  on  every  side. 

The  well  known  application  in  Hamlet  (act.  i.  sc.  5,  1.  13,  vol. 
viii.  p.  35)  of  the  chief  characteristic  of  this  vexing  creature  is 
part  of  the  declaration  which  the  Ghost  makes  to  the  Prince  of 

Denmark, — 

"  But  that  I  am  forbid 
To  tell  the  secrets  of  my  prison-house, 
I  could  a  tale  unfold  whose  lightest  word 
Would  harrow  up  thy  soul,  freeze  thy  young  blood, 
Make  thy  two  eyes,  like  stars,  start  from  their  spheres, 
Thy  knotted  and  combined  locks  to  part 
And  each  particular  hair  to  stand  an  end, 
Like  quills  upon  the  fretful  porpentine." 

And  of  "  John  Cade  of  Ashford,"  in  2  Henry  VI.  (act.  iii.  sc.  I, 
1.  360,  vol.  v.  p.  162),  the  Duke  of  York  avers, — 

"  In  Ireland  I  have  seen  this  stubborn  Cade 
Oppose  himself  against  a  troop  of  kernes  ; 
And  fought  so  long,  'till  that  his  thighs  with  darts 
Were  almost  like  a  sharp-quill'd  porcupine." 


SECT.  II.] 


HERALDIC   EMBLEMS. 


233 


From  the  same  source,  Giovio's  and  Symeoni's  "  SENTEN- 
TIOSE  IMPRESE,"  Lyons,  1561,  p.  115,  we  also  derive  the  cogni- 
zance,— 

DEL     CAPITANO     GIROLAMO 
MATTEI     ROMANO. 


Giwio  and  Sy meant,  1561. 

Diuora  ilflruzzo  con  ingordafuria 
Jlferro,  &  lo  fmaltifce  poi  plan  piano, 
Cojl  (come  dipinge  il  buon  Romano] 
Smaltirfa  il  tempo  ogni  maggiore  ingiuria. 


Spiritus  du- 
riflima  coquit. 


To  this  Ostrich,  with  a  large  iron  nail  in  its  mouth,  and  with 
a  scroll  inscribed,  "  Courage  digests  the  hardest  things,"  the 
stanza  is  devoted  which  means, — 

"  Devour  does  the  ostrich  with  eager  greediness 
The  iron,  and  then  very  easily  digests  it, 
So  (as  the  good  Romano  represents) 
Time  causes  every  injury  to  be  digested." 

H  H 


234 


CLASSIFICA  TION. 


[CHAP.  VI. 


Camerarius,  to  the  same  motto,  Ex   Volatilibus  (ed.   1595,  p.  19), 
treats  us  to  a  similar  couplet, — 

"  Magno  animo  fortis  perferre  pericula  suevit, 
Vllo  nee  facile  frangitur  ille  metu" 

i.e.       "  With  mighty  mind  the  brave  grows  accustomed  to  bear  dangers, 
Nor  easily  is  that  man  broken  by  any  fear." 

Shakespeare's  description  of  the  ostrich,  as  given  by  Jack 
Cade,  2  Henry  VI.  (act  iv.  sc.  10,  1.  23,  vol.  v.  p.  206),  is  in  close 
agreement  with  the  ostrich  device, — 

"  Here's  the  lord  of  the  soil,"  he  says,  "  come  to  seize  me  for  a  stray,  for 
entering  his  fee-simple  without  leave.  Ah,  villain,  thou  wilt  betray  me,  and 
get  a  thousand  crowns  of  the  king  for  carrying  my  head  to  him  ;  but  I'll 
make  thee  eat  iron  like  an  ostrich,  and  swallow  my  sword  like  a  great  pin, 
ere  thou  and  I  part." 

Note  the  iron  pin  in  the  ostrich's  mouth. 


Sola  fafta  folum  Deum  fequor.  "  My    Lady    Bona    of 

Savoy,"  as  Paradin  (ed. 
1562,  fol.  165)  names  her, 
"  the  mother  of  Ian  Galeaz, 
Duke  of  Milan,  finding 
herself  a  widow,  made 
a  device  on  her  small 
coins  of  a  Phoenix  in 
the  midst  of  a  fire,  with 
these  words,  '  Being  made 
lonely,  I  follow  God  alone.' 
Wishing  to  signify  that, 
as  there  is  in  the  world 
but  one  Phoenix,  even 
so  being  left  by  herself, 
she  wished  only  to  love 
conformably  to  the  only  God,  in  order  to  live  eternally."* 

*  Paradin's  text : — "Ma  Dame  Bone  de  Sanoye  mere  de  Ian  Galeaz,  Due  de  Milan, 
se  trouuant  veufe  feit  faire  vne  Deuise  en  ses  Testons  (Tvne  Fenix  an  milieu  d'vn  fen 
anec  ces  paroles :  Sola  facta,  solum  Deum  sequor.  Voulant  signifier  que  comme  il 
ny  a  au  monde  qifvne  Fenix,  tont  ainsi  estant  demeuree  senlette,  ne  vouloit  aymer  selon 
le  senl  Dim,  pour  inure  eterneJlenieut.^ 


Paradin,  1562. 


SECT.  II. J 


HERALDIC    EMBLEMS. 


235 


The  "  TETRASTICHI  MORALI  "  presents  the  same  Emblem,  as 
indeed  do  Giovio's  "  DlALOGO  DELL'  IMPRESE,"  &c.,  ed.  Lyons, 
1574,  and  "DlALOGVE  DES  DEVISES,"  &c.,  ed.  Lyons,  1561  ; 

DI      MADAMA      BONA 
D  I      S  A  V  O  I  A. 


Giovio,  1574  (diminished}. 

with  the  same  motto,  and  the  invariable  Italian  Quatrain, — 

Perduto  cti  hebbe  ilfido  fuo  conforte 

Sola  fafta  folu  La  nobll  Donna,  qual  Fenicefola, 

DeCi  fequor.  A  Dio  <volfe  ogni  priego,  ogm  parola, 

Dando  vita  al  penfier  con  /'  altrui  morte. 

In  English, — 

"  Lost  had  she  her  faithful  consort, 

The  noble  Lady,  as  a  Phoenix  lonely, 
To  God  wills  every  prayer,  every  word 
Giving  life  to  consider  death  with  others." 

The  full  description  and  characteristics  of  the  Phcenix  we 
reserve  for  the  section  which  treats  of  Emblems  for  Poetic  Ideas  ; 
but  the  loneliness,  or  if  I  may  use  the  term,  the  oneliness  of 
this  fabulous  bird  Shakespeare  occasionally  dwells  upon. 


236  CLASSIFICATION.  [CHAP.  VI. 

In  the  Cymbeline  (act  i.  sc.  6,  1.  12,  vol.  ix.  p.  183),  Posthumus 
and  lachimo  had  made  a  wager  as  to  the  superior  qualities  and 
beauties  of  their  respective  ladies,  and  lachimo  takes  from 
Leonatus  an  introduction  to  Imogen  ;  the  Dialogue  thus 
proceeds, — 

"  lack.  The  worthy  Leonatus  is  in  safety, 
And  greets  your  highness  dearly.  {Presents  a  letter. 

Imo.  Thanks,  good  sir  : 

You're  kindly  welcome. 

lack.  [Aside.]  All  of  her  that  is  out  of  door  most  rich  ! 
If  she  be  furnish'd  with  a  mind  so  rare, 
She  is  alone  the  Arabian  bird,  and  I 
Have  lost  the  wager." 

Rosalind,  in  As  You  Like  It  (act  iv.  sc.  3,  1.  15,  vol.  ii.  p.  442), 
thus  speaks  of  the  letter  which  Phebe,  the  shepherdess,  had 
sent  her, — 

"  She  says  I  am  not  fair,  that  I  lack  manners  ; 
She  calls  me  proud,  and  that  she  could  not  love  me, 
Were  man  as  rare  as  phcenix." 

The  oneliness  of  the  bird  is,  too,  well  set  forth  in  the  Tempest 
(act  iii.  sc.  3,  1.  22,  vol.  i.  p.  50),— 

"  In  Arabia 

There  is  one  tree,  the  phcenix'  throne ;  one  phcenix 
At  this  hour  reigning  there." 

To  the  Heraldry  of  Imaginative  Devices  might  be  referred 
the  greater  part  of  the  coats  of  arms,  badges  and  cognizances  by 
which  noble  and  gentle  families  are  distinguished.  To  conclude 
this  branch  of  our  subject,  I  will  name  a  woodcut  which  was 
probably  peculiar  to  Geffrey  Whitney  at  the  time  when  Shake- 
speare wrote,  though  accessible  to  the  dramatist  from  other 
sources  ;  it  is  the  fine  frontispiece  to  the  Choice  of  Emblemes, 
setting  forth  the  heraldic  honours  and  arms  of  Robert,  Earl  of 
Leycester,  and  in  part  of  his  brother,  Ambrose,  Earl  of  Warwick. 
Each  of  these  noblemen  bore  the  same  crest,  and  it  was,  what 


SECT.  II.] 


HERALDIC   EMBLEMS. 


237 


Whitney,  1586. 


Shakespeare,  2  Henry  VI.  (act  v.  sc.  1, 1.  203,  vol.  v.  p.  215),  terms 
"  the  rampant  bear  chained  to  the  ragged  staff." 

How  long  this  had  been  the  cogni- 
zance of  the  Earls  of  Warwick,  and 
whether  it  was  borne  by  all  the  various 
families  of  the  Saxon  and  Norman  races 
who  held  the  title, — by  the  Beauchamps, 
the  Nevilles,  and  the  Dudleys,  admits  of 
doubt ;  but  it  is  certain  that  such  was  the 
cognizance  in  the  reign  of  Henry  VI. 
and  in  that  of  Elizabeth. 

According  to  Dugdale's  Antiquities 
of  Warwickshire,  edition  1730,  p.  398, 
the  monument  of  Thomas  Beauchamp, 
Earl  of  Warwick  in  Edward  III.'s  time, 
has  a  lion,  not  a  bear ;  and  a  lamb 

for  his  Countess,  the  Lady  Katherine  Mortimer.  Also  on  the 
monument  of  another  Earl  (p.  404),  who  died  in  1401,  the  bear 
does  not  appear ;  but  on  the  monument  of  Richard  Beauchamp, 
who  died  "the  last  day  of  Aprill,  the  year  of  our  lord  god  1434," 
the  inscriptions  are  crowded  with  bears,  instead  of  commas  and 
colons ;  and  the  recumbent  figure  of  the  Earl  has  a  muzzled 
bear  at  his  feet  (p.  410).  The  Nevilles  now  succeeded  to  the 
title,  and  a  limner's  or  designer's  very  curious  bill,  of  the  fifteenth 
year  of  Henry  VI.,  1438,  shows  that  the  bear  and  ragged  staff 
were  then  both  in  use  and  in  honour, — 

"  First  CCCC  Pencels  bete  with  the  Raggidde  staffe  of  silver 

pris  the  pece  v  d  .  .  .  .  .  .  .  .  .  o8/.  o6s.  oo 

Item  for  a  grete  Stremour  for  the  Ship  of  XI  yerdis  length  and 
mi  yerdis  in  brede,  with  a  grete  Bere  and  Gryfon  holding 
a  Raggid  staffe,  poudrid  full  of  raggid  staves  ;  and  for  a 
grate  Crosse  of  S.  George  for  the  lymmynge  and  portraying  01  .  06  .  08 

Item  xvni  Standardes  of  worsted,  entretailled  with  the 
Bere  and  a  Chayne,  pris  the  pece  xii  d 00.18.00" 


238  CLASSIFICATION.  [CHAP.  VI. 

Among  the  monuments  in  the  Lady  Chapel  at  Warwick  is  a 
full  length  figure  of  "Ambrose  Duddeley,"  who  died  in  1589, 
and  of  a  muzzled  bear  crouching  at  his  feet.  Robert  Dudley, 
Earl  of  Leycester,  his  brother,  died  in  1588  ;  and  on  his  magni- 
ficent tomb,  in  the  same  chapel,  is  seen  the  same  cognizance  of 
the  bear  and  ragged  staff.  The  armorial  bearings,  however,  are 
a  little  different  from  those  which  Whitney  figures. 

If,  according  to  the  Cambridge  edition  of  Shakespeare's 
works,  1863-1866,  vol.  v.  p.  vii.,  "the  play  upon  which  the  Second 
part  of  Henry  the  Sixth  was  founded  was  first  printed  in  quarto, 
in  1594  ;  "  or  if,  as  some  with  as  much  reason  have  supposed,*  it 
existed  even  previous  to  1591,  it  is  not  likely  that  these  monu- 
ments of  elaborate  design  and  costly  and  skilled  workmanship 
could  have  been  completed,  so  that  from  them  Shakespeare  had 
taken  his  description  of  "  old  N  evil's  crest."  Nathan  Drake's 
Shakspeare  and  his  Times  (vol.  i.  pp.  410,  416)  tells  us  that  he 
left  Stratford  for  London  "  about  the  year  1586,  or  1587  ; "  yet 
"  the  family  residence  of  Shakspeare  was  always  at  Stratford  : 
that  he  himself  originally  went  alone  to  London,  and  that  he 
spent  the  greater  part  of  every  year  there  alone,  annually, 
however,  and  probably  for  some  months,  returning  to  the 
bosom  of  his  family,  and  that  this  alternation  continued  until 
he  finally  left  the  capital." 

Of  course,  had  the  monuments  in  question  existed  before  the 
composition  of  the  Henry  VI.,  his  annual  visits  to  his  native 
Warwickshire  would  have  made  them  known  to  him,  and  he 
would  thus  have  noted  the  family  cognizance  of  the  brother 
Earls  ;  but  reason  favours  the  conjecture  that  these  monuments 
in  the  Lady  Chapel  were  not  the  sources  of  his  knowledge. 

Common  rumour,  indeed,  may  have  supplied  the  information; 

*  See  Penny  Cyclopaedia,  vol.  xxi.  p.  343  :  "  We  have  no  doubt  that  the  three 
plays  in  their  original  form,  which  we  now  call  the  three  Parts  of  Henry  VI.,  were 
his,"  i.  e.  Shakespeare's,  "and  they  also  belong  to  this  epoch,"  /.  e.  previous  to  1591. 


SECT.  II.]  HERALDIC    EMBLEMS.  239 

but  as  Geffrey  Whitney's  book  appeared  in  1586,  its  first  novelty 
would  be  around  it  about  the  time  at  which  Shakespeare  was 
engaged  in  producing  his  Henry  VI.  That  Emblem-book  was 
dedicated  to  "  ROBERT  Earle  of  LEYCESTER  ;  "  and,  as  we  have 
said,  contains  a  drawing,  remarkably  graphic,  of  a  bear  grasping 
a  ragged  staff,  having  a  collar  and  chain  around  him,  and  stand- 
ing erect  on  the  helmet's  burgonet.  There  is  also  a  less  elabo- 
rate sketch  of  the  same  badge  on  the  title-page  to  the  second 
part  of  Whitney's  Emblemes,  p.  105. 

Most  exactly,  most  artistically,  does  the  dramatist  ascribe 
the  same  crest,  in  the  same  attitude,  and  in  the  same  standing 
place,  to  Richard  Nevil,  Earl  of  Warwick,  the  king-setter-up  and 
putter-down  of  History.  In  the  fields  between  Dartford  and 
Blackheath,  in  Kent,  the  two  armies  of  Lancaster  and  York  are 
encamped  ;  in  the  Dialogue,  there  is  almost  a  direct  challenge 
from  Lord  Clifford  to  Warwick  to  meet  upon  the  battle-field. 
York  is  charged  as  a  traitor  by  Clifford  (2  Henry  VL,  act  v. 
sc.  i,  1.  143,  vol.  v.  p.  213),  but  replies, — 

"  I  am  the  king,  and  thou  a  false-heart  traitor. 
Call  hither  to  the  stake  my  two  brave  bears, 
That  with  the  very  shaking  of  their  chains 
They  may  astonish  these  fell-lurking  curs  : 
Bid  Salisbury  and  Warwick  come  to  me. 

Enter  the  EARLS  OF  WARWICK  and  SALISBURY. 

Clif.  Are  these  thy  bears  ?  we'll  bait  thy  bears  to  death, 
And  manacle  the  bear-ward  in  their  chains, 
If  thou  darest  bring  them  to  the  baiting  place. 

Rich.  Oft  have  I  seen  a  hot  o'erweening  cur 
Run  back  and  bite,  because  he  was  withheld  ; 
Who,  being  suffer'd  with  the  bear's  fell  paw, 
Hath  clapp'd  his  tail  between  his  legs  and  cried  : 
And  such  a  piece  of  service  will  you  do, 
If  you  oppose  yourselves  to  match  Lord  Warwick." 

The  Dialogue  continues  until  just  afterwards  Warwick  makes 
this  taunting  remark  to  Clifford  (1.  196),— 


24o  CLASSIFICATION.  [CHAP.  VI. 

"  War.  You  were  best  to  go  to  bed  and  dream  again, 
To  keep  thee  from  the  tempest  of  the  field. 

Clif.  I  am  resolved  to  bear  a  greater  storm 
Than  any  thou  canst  conjure  up  to-day  ; 
And  that  111  write  upon  thy  burgonet, 
Might  I  but  know  thee  by  thy  household  badge. 

War.  Now,  by  my  father's  badge,  old  Nevil's  crest, 
The  rampant  bear  chain'd  to  the  ragged  staff, 
This  day  I'll  wear  aloft  my  burgonet, 
As  on  a  mountain  top  the  cedar  shows 
That  keeps  his  leaves  in  spite  of  any  storm, 
Even  to  affright  thee  with  the  view  thereof. 

Clif.  And  from  thy  burgonet  I'll  rend  thy  bear 
And  tread  it  underfoot  with  all  contempt, 
Despite  the  bear-ward  that  protects  the  bear." 

A  closer  correspondence  between  a  picture  and  a  description  of 
it  cannot  be  desired  ;  Shakespeare's  lines  and  Whitney's  frontis- 
piece exactly  coincide ; 

"  Like  coats  in  heraldry 
Due  but  to  one,  and  crowned  with  one  crest." 

By  Euclid's  axiom,  "  magnitudes  which  coincide  are  equal ; " 
and  though  the  reasonings  in  geometry  and  those  in  heraldry 
are  by  no  means  of  forces  identical,  it  may  be  a  just  conclusion  ; 
therefore,  the  coincidences  and  parallelisms  of  Shakespeare,  with 
respect  to  Heraldic  Emblems,  have  their  original  lines  and  sources 
in  such  writers  as  Giovio,  Paradin,  and  Whitney.  It  was  not  he 
who  set  up  the  ancient  fortifications,  but  he  has  drawn  circum- 
vallations  around  them,  and  his  towers  nod  over  against  theirs, 
though  with  no  hostile  rivalry. 


Horapollo,  ed.  1551. 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  241 


SECTION    III. 

EMBLEMS   FOR    MYTHOLOGICAL    CHARACTERS. 

CHO  has  not  more  voices  than  Mythology  has 
transmutations,  eccentricities,  and  cunningly  de- 
vised fancies, — and  every  one  of  them  has  its  tale 
or  its  narrative — its  poetic  tissues  woven  of  such 
an  exquisite  thinness  that  they  leave  no  shadows  where  they 
pass.  The  mythologies  of  Egypt  and  of  Greece,  of  Etruria  and 
of  Rome,  in  all  their  varying  phases  of  absolute  fiction  and 
substantial  truth,  perverted  by  an  unguarded  imagination,  were 
the  richest  mines  that  the  Emblem  writers  attempted  to  work ; 
they  delighted  in  the  freedom  with  which  the  fancy  seemed 
invited  to  rove  from  gem  to  gem,  and  luxuriated  in  the  many 
forms  into  which  their  fables  might  diverge.  Now  they  touched 
upon  Jove's  thunder,  or  on  the  laurel  for  poets'  brows,  which  the 
lightning's  flash  could  not  harm — then  on  the  beauty  and  grace- 
fulness of  Venus,  or  on  the  doves  that  fluttered  near  her  car ; — 
Dian's  severe  strictness  supplied  them  with  a  theme,  or  Juno 
with  her  queenly  birds  ;  and  they  did  not  disdain  to  tell  of 
Bacchus  and  the  vine,  of  Circe,  and  Ulysses,  and  the  Sirens. 
The  slaying  of  Niobe's  children,  Actaeon  seized  by  his  hounds, 
and  Prometheus  chained  to  the  rock,  Arion  rescued  by  the 
dolphin,  and  Thetis  at  the  tomb  of  Achilles, — these  and  many 
other  myths  and  tales  of  antiquity  grew  up  in  the  minds  of 
Emblematists,  self-sown — ornaments,  if  not  utilities. 

i  i 


242  CLASSIFICATION.  [CHAP.  VI. 

Though  the  great  epic  poems  are  inwrought  throughout 
with  the  mosaic  work  of  fables  that  passed  for  divine,  and  of 
exploits  that  were  almost  more  than  human,  Ovid's  Metamor- 
phoses, printed  as  early  as  1471,  and  of  which  an  early  French 
edition,  in  1484,  bears  the  title  Ha  ISifcle  to  poetes,  may  be 
regarded  as  the  chief  storehouse  of  mythological  adventure  and 
misadventure.  The  revival  of  literature  poured  forth  the  work 
in  various  forms  and  languages.  Spain  had  her  translation  in 
1494,  and  Italy  in  1497  ;  and  as  Brunet  informs  us  (vol.  iv. 
c.  277),  to  another  of  Ovid's  books,  printed  in  Piedmont  before 
1473,  there  was  this  singularly  incongruous  subscription,  "  Laus 
Deo  et  Virgini  Marice  Gloriosissimcs  Johannes  Glim?  Caxton, 
in  England,  led  the  way  by  printing  Ovid's  Metamorphoses  in 
1480,  which  Arthur  Golding  may  be  said  to  have  completed  in 
1567  by  his  English  Metrical  Version. 

Thus  everywhere  was  the  storehouse  of  mythology  open  ; 
and  of  the  Roman  fabulist  the  Emblem  writers,  as  far  as  they 
could,  made  a  Book  of  Emblems,  and  often  into  their  own  works 
transported  freely  what  they  had  found  in  his. 

And  for  a  poet  of  no  great  depth  of  pure  learning,  but  of 
unsurpassed  natural  power  and  genius,  like  Shakespeare,  no 
class  of  books  would  attract  his  attention  and  furnish  him  with 
ideas  and  suggestions  so  readily  as  the  Emblem  writers  of  the 
Latin  and  Teutonic  races.  "  The  eye,"  which  he  describes,  "  in 
a  fine  phrensy  rolling,"  would  suffice  to  take  in  at  a  single  glance 
many  of  the  pictorial  illustrations  which  others  of  duller  sensi- 
bilities would  only  master  by  laborious  study  ;  and  though 
undoubtedly,  from  the  accuracy  with  which  Shakespeare  has 
depicted  ancient  ideas  and  characters,  and  shown  his  familiarity 
with  ancient  customs,  usages,  and  events,  he  must  have  read 
much  and  thought  much,  or  else  have  thought  intuitively,  it  is  a 
most  reasonable  conjecture  that  the  popular  literature  of  his 
times — the  illustrated  Emblem-books,  which  made  their  way  of 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS.  243 

welcome  among  the  chief  nations  of  middle,  western,  and 
southern  Europe — should  have  been  one  of  the  fountains  at 
which  he  gained  knowledge.  Nature,  indeed,  forms  the  poet, 
and  his  storehouses  of  materials  on  which  to  work  are  the  inner 
and  outer  worlds,  first  of  his  own  consciousness,  and  next  of 
heaven  and  earth  spread  before  him.  But  as  a  portion  of  this 
latter  world  we  may  name  the  appliances  and  results  of  artistic 
skill  in  its  delineations  of  outward  forms,  and  in  the  fixedness 
which  it  gives  to  many  of  the  conceptions  of  the  mind.  To  the 
artist  himself,  and  to  the  poet  not  less  than  to  the  artist,  the  pic- 
tured shapes  and  groupings  of  mythological  or  fabulous  beings 
are  most  suggestive,  both  of  thoughts  already  embodied  there,  and 
also  of  other  thoughts  to  be  afterwards  combined  and  expressed. 

Hence  would  the  Emblem-books,  on  some  of  which  the  fore- 
most painters  and  engravers  had  not  disdained  to  bestow  their 
powers,  become  to  poets  especially  fruitful  in  instruction.  A 
proverb,  a  fable,  an  old  world  deity  is  set  forth  by  the  pencil 
and  the  graving  tool,  and  the  combination  supplies  additional 
elements  of  reflection.  Thus,  doubtless,  did  Shakespeare  use  such 
works ;  and  not  merely  are  some  of  his  thoughts  and  expressions 
in  unison  with  them,  but  moulded  and  modified  by  them. 

For  much  indeed  of  his  mythological  lore  he  was  indebted  to 
Ovid's  Metamorphoses,  or,  rather,  I  should  say,  to  "  Ovid's  Meta- 
wwrpJioses  translated  out  of  Latin  in  English  metre  by  Arthur 
Golding,  gent.  A  worke  very  pleasaunt  and  delectable  ;  4to 
London  1565."  That  he  did  attend  to  Golding's  couplet, — 

"  With  skill,  heed,  and  judgment,  thys  work  must  be  red, 
For  els  too  the  reader  it  stands  in  small  stead,"- 

will  appear  from  some  few  instances ;  as, — 

"  Thy  promises  are  like  Adonis'  gardens 
That  one  day  bloom'd,  and  fruitful  were  the  next." 


244  CLASSIFICATION.  [CHAP.  VI. 

"  Apollo  flies  and  Daphne  holds  the  chase, 
The  dove  pursues  the  griffin  ;  tfte  mild  hind 
Makes  speed  to  catch  the  tiger." 

Midsummer  Night's  Dream,  act  ii.  sc.  i,  1.  231. 

"  We  still  have  slept  together, 
Rose  at  an  instant,  learn'd,  play'd,  eat  together, 
And  wheresoe'er  we  went,  like  Juno's  swans, 
Still  we  went  coupled  and  inseparable." 

As  You  Like  It,  act  i.  sc.  3, 1.  69. 

"  Approach  the  chamber  and  destroy  your  sight 

With  a  new  Gorgon." 

Macbeth,  act  ii.  sc.  3,  1.  67. 

"I'll  have  no  worse  a  name  than  Jove's  own  page  ; 
And  therefore  look  you  call  me  Ganymede." 

As  You  Like  It,  act  i.  sc.  3, 1.  120. 
and, — 

"  O  Proserpina, 

For  the  flowers  now,  that  frighted  thou  let'st  fall 

From  Dis's  waggon  !  daffodils, 

That  come  before  the  swallow  dares,  and  take 

The  winds  of  March  with  beauty  ;  violets  dim 

But  sweeter  than  the  lids  of  Juno's  eyes 

Or  Cytherea's  breath  ;  pale  primroses, 

That  die  unmarried,  ere  they  can  behold 

Bright  Phcebus  in  his  strength,  a  malady 

Most  incident  to  maids  ;  bold  oxlips  and 

The  crown  imperial ;  lilies  of  all  kinds, 

The  flower-de-luce  being  one  !     O,  these  I  lack 

To  make  you  garlands  of ;  and  my  sweet  friend 

To  strew  him  o'er  and  o'er  ! " 

Winter's  Tale,  act  iv.  sc.  4, 1.  116. 

Yet  from  the  Emblem  writers  as  well  he  appears  to  have 
derived  many  of  his  mythological  allusions  and  expressions  ;  we 
may  trace  this  generally,  and  with  respect  to  some  of  the 
Heathen  Divinities, — to  several  of  the  ancient  Heroes  and 
Heroines,  we  may  note  that  they  supply  him  with  most  beautiful 
personifications. 

Generally,  as  in  Troilus  and  Cressida  (act  ii.  sc.  3,  1.  240),  the 
expression  "  bull-bearing  Milo  "  finds  its  device  in  the  Emblc- 
mata  of  Lebeus  Batillius,  edition  Francfort,  1596,  where  we  are 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  245 

told  that  "  Milo  by  long  custom  in  carrying  the  calf  could  also 

earn-  it  when  it  had  grown  to  be  a  bull."  In  Romeo  and  Juliet 
(act  ii.  sc.  5,  1.  8)  the  lines, — 

"  Therefore  do  nimble-pinion'd  doves  draw  love 
And  therefore  hath  the  wind  swift  Cupid  wings." 

We  have  the  scene  pictured  in  Corrozet's  Hecatomgraphie,  Paris, 
1540,  leaf  70,  with,  however,  a  very  grand  profession  of  regard 
for  the  public  good, — 

"  Ce  n'est  pas  cy  Cupido  ieune  enfant 
Que  vous  voier  au  carrc  triumphant, 
Mais  c'est  amour  lequel  tiet  en  sa  corde 
Tous  les  estatz  en  grad  paix  &  cocorde." 

In  Richard  II.  (act  iii.  sc.  2,  1.  24)  Shakespeare  seems  to  have  in 
view  the  act  of  Cadmus,  when  he  sowed  the  serpent's  teeth, — 

"  This  earth  shall  have  a  fooling  and  these  stones 
Prove  armed  soldiers,  ere  her  native  king 
Shall  falter  under  foul  rebellion's  arms." 

And  the  device  which  emblematizes  the  fact  occurs  in  Sy- 
meoni's  abbreviation  of  the  Metamorphoses  into  the  form  of 
Italian  Epigrams  (edition  Lyons,  1559,  device  41,  p.  52). 

And  lastly,  in   3  Henry  VI.  (act  v.  sc.  I,  1.  34),  from  a  few 
lines    of   dialogue  between   Warwick   and   King   Edward,   we 

read, — 

"  War.  Twas  I  that  gave  the  kingdom  to  thy  brother. 
K.  Edw.  Why  then  'tis  mine,  if  but  by  Warwick's  gift. 
War.  Thou  art  no  Atlas  for  so  great  a  weight ; 
And  weakling,  Warwick  takes  his  gift  again." 

But  a  better  comment  cannot  be  than  is  found  in  Giovio's 
"DlALOGVE,"  edition  Lyons,  1561,  p.  129,  with  Atlas  carrying 
the  Globe  of  the  Heavens,  and  with  the  motto,  "  SVSTINET 
NEC  FATISCIT," — He  bears  nor  grows  weary. 

The  story  of  Jupiter  and  lo  is  presented  in  the  Emblem- 
books   by   Symeoni,    1561,  and    by   the    Plantinian   edition   of 


246  CLASSIFICA  TION.  [C HAP.  VI. 

Ovid's  Metamorphoses,  Antwerp,  1591,  p.  35.  From  the  latter, 
were  it  needed,  we  could  easily  have  added  a  pictorial  illustra- 
tion to  the  Taming  of  the  Shrew  (Induction,  sc.  2,  1.  52), — 

"  We'll  show  thee  lo  as  she  was  a  maid 
And  how  she  was  beguiled  and  surprised, 
As  lively  painted  as  the  deed  was  done." 

The  Antony  and  Cleopatra  (act  ii.  sc.  7,  1.  101,  vol.  ix.  p.  60), 
in  one  part,  presents  the  banquet,  or,  rather,  the  drinking  bout, 
between  Caesar,  Antony,  Pompey,  and  Lepidus,  "the  third  part 
of  the  world."  Enobarbus  addresses  Antony, — 

"  Eno.  [To  Antony.]  Ha,  my  brave  emperor  ! 
Shall  we  dance  now  the  Egyptian  Bacchanals, 
And  celebrate  our  drink  ? 

Pom.  Let's  ha't,  good  soldier. 

Ant.  Come,  let's  all  take  hands, 
Till  that  the  conquering  wine  hath  steep'd  our  sense 
In  soft  and  delicate  Lethe. 

Eno.  All  take  hands. 

Make  battery  to  our  ears  with  the  loud  music  : 
The  while  I'll  place  you  :  then  the  boy  shall  sing  ; 
The  holding  every  man  shall  bear  as  loud 
As  his  strong  sides  can  volley. 

[Music  play s,  ENOBARBUS  places  them  hand  in  hand. 
THE  SONG. 

"  Come,  thou  monarch  of  the  vine, 
Plumpy  Bacchus  with  pink  eyne  ! 
In  thy  fats  our  cares  be  drown'd, 
With  thy  grapes  our  hairs  be  crown'd  : 
Cup  us,  till  the  world  go  round, 
Cup  us,  till  the  world  go  round  ! " 

Now,  the  figures  in  Alciat,  in  Whitney,  in  the  Microcosmos* 
and  especially  in  Boissard's  "THEATRVM  VIM:  HUMANA,"  ed. 
Metz,  1596,  p.  213,  of  a  certainty  suggest  the  epithets  "plumpy 
Bacchus  "  "  with  pink  eyne,"  a  very  chieftain  of  "  Egyptian  Bac- 

*  Or  Parvus  Mundus,  ed.  1579,  where  the  figure  of  Bacchus  by  Gerard  de  Jode  has 
wings  on  the  head,  and  a  swift  Pegasus  by  its  side,  just  striking  the  earth  for  flight. 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS. 


247 


chanals."   This  last  depicts  the  "  monarch  of  the  vine  "  approach- 
ing to  mellowness. 


Doissard,  1596. 

The  Latin  stanzas  subjoined  would,  however,  not  have 
suited  Enobarbus  and  the  roistering  triumvirs  of  the  world, — 

"  Suave  Dei  munus  viiiuni  est :  hominumque  salnti 

Conducit :  prcesit  dinnmodb  sobrietas. 
Immodico  sed  si  tibi  proluat  ora  Lyceo, 
Pro  dulci  potas  tetra  aconita  mero" 

/.(\  "  Wine  is  God's  pleasant  gift,  and  for  men's  health 

Conduces,  when  sobriety  presides  ; 
But  if  excessive  drained  Lyaean  wealth, 
For  liquor  sweet  black  aconite  abides." 

The  phrase,  "  rempli  de  vin  dont  son  visage  est  teint,"  in  "  LE 
MlCROCOSME,"  Lyons,  1562,  suggests  the  placing  the  stanzas  in 
which  it  occurs,  in  illustration  of  Shakespeare's  song  ;  they  are, — 

"  Le  Dieu  Bacchus  d'ordinaire  on  depeint 
Ayant  en  main  vn  chapelet  de  lierre, 
Tenant  aussi  vne  couppe  ou  vn  verre 
Rempli  de  vin  dont  son  visage  est  teint. 


248 


CLASSIFICATION. 


[CHAP.  VI. 


Des  deux  costes  son  chef  on  void  ais!6, 
Et  pres  de  luy  d'vne  pasture  belle 
Le  genereux  Pegasus  a  double  aisle 
Se  veut  guinder  vers  le  ciel  estoileV' 


In  ftatuam  Bacchi. 

DlALOGISMVS. 
XXV. 


It  may  give  comple- 
tion to  this  sketch  if  we 
subjoin  the  figured  Bac- 
chus of  Alciat  (edition 
Antwerp,  1581,  p.  113), 
and  present  the  intro- 
ductory lines,  — 


Alciat,  1581. 


uis  te  mor- 
tali  famine  nouit, 
Et  do  eta  effinxit  quis  tua 

membra  manu  ? 
Praxiteles,  qui  me  rapien- 

tem  Gnossida  vidit, 
Atque   illo  pinxit    tern- 
pore,  qualis  eram" 


Of  Alciat's  36  lines,  Whitney,  p.  187,  gives  the  brief  yet 
paraphrastic  translation, — 

"  'T^HE  timelie  birthe  that  SEMELE  did  beare, 

-*-     See  heere,  in  time  howe  monsterous  he  grewe  : 
With  drinkinge  muche,  and  dailie  bellie  cheare, 
His  eies  weare  dimme,  and  fierie  was  his  hue  : 
His  cuppe,  still  full :  his  head,  with  grapes  was  croun'de  ; 
Thus  time  he  spent  with  pipe,  and  tabret  sounde.* 

Which  carpes  all  those,  that  loue  to  much  the  canne, 
And  dothe  describe  theire  personage,  and  theire  guise  : 
For  like  a  beaste,  this  doth  transforme  a  man, 
And  makes  him  speake  that  moste  in  secret  lies  ; 

Then,  shunne  the  sorte  that  bragge  of  drinking  muche, 
Seeke  other  frendes,  and  ioyne  not  handes  with  suche." 

*  It  is  curious  to  observe  how  in  the  margin  Whitney  supports  his  theme  by  a 
reference  to  Ovid,  and  by  quotations  from  Anacreon,  John  Chiysostom,  Sambucus, 
and  Propertius. 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS. 


249 


On  the  same  subject  we  may  refer  to  Loves  Labour's  Lost 
(act  iv.  sc.  3,  1.  308,  vol.  ii.  p.  151),  to  the  long  discourse  or  argu- 
ment by  Biron,  in  which  he  asks, — 

"  For  where  is  any  author  in  the  world 
Teaches  such  beauty  as  a  woman's  eye  ? " 

The  offensiveness  of  excess  in  wine  is  then  well  set  forth  (1.  333),— 

"  Love's  feeling  is  more  soft  and  sensible, 
Than  are  the  tender  horns  of  cockled  snails  ; 
Love's  tongue  proves  dainty  Bacchus  gross  in  taste." 

On  these  words  the  best  comment  are  two  couplets  from 
Whitney  (p.  133),  to  the  sentiment,  Prudentcs  vino  abstinent — 
"  The  wise  abstain  from  wine." 


L 


Whitney,  1586. 

OE  here  the  vine  dothe  clafpe,  to  prudent  Pallas  tree, 
The  league  is  nought,  for  virgines  wife,  doe  Bacchus  frendfliip  flee. 

Quid  me  <vexatis  rami  ?     Sum  Palladis  arbor, 
Auferte  hlnc  botros,  <virgofugit  Bromium. 

Engtijlied  fo. 

\Vhy  vexe  yee  mee  yee  boughes  ?  fince  I  am  Pallas  tree  : 
Remoue  awaie  your  clutters  hence,  the  virgin  wine  doth  flee. 

K  K 


Alciat. 


250  CLASSIFICATION.  [CHAP.  VI. 

Not  less  degrading  and  brutalising  than  the  goblets  of 
Bacchus  are  the  poisoned  cups  of  the  goddess  Circe.  Her 
fearful  power  and  enchantments  form  episodes  in  the  loth 
book  of  the  Odyssey,  in  the  /th  of  the  <&neid,  and  in  the 
I4th  of  the  Metamorphoses.  So  suitable  a  theme  for  their 
art  is  not  neglected  by  the  Emblem  writers.  Alciat  adopts 
it  as  a  warning  against  meretricious  allurements  (edition 
1581,  p.  184),— 

ANDREAE       ALCIATI 

Cauendum  a  meretricibus. 
EMBLEMA     LXXVI. 


tsr 


Alciat,  1581. 

SOLE  fatae  Circes  tarn  magna  potentia  fertur, 
Verterit  <vt  multos  in  noua  monftra  <viros. 

Teflis  equum  domitor  Picus,  turn  Scylla  biformis, 
Atque  It  had  poftquam  <vina  bibere  fues. 

Indicat  illuftri  meretricem  nomine  Circe, 
Et  rationem  animi  perdere,  quifquis  amat. 


Adopting  another  motto,  Homines  voluptatibus  transformantur, 
— "  Men  are  transformed  by  pleasures," — Whitney  (p.  82)  yet 
gives  expression  to  Alciat's  idea, — 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  251 

EE  here  VLISSES  men,  transformed  straunge  to  heare  : 
Some  had  the  shape  of  Goates,  and  Hogges,  some  Apes,  and  Asses 

weare. 

Who,  when  they  might  haue  had  their  former  shape  againe, 
They  did  refuse,  and  rather  wish'd,  still  brutishe  to  remaine. 
Which  showes  those  foolishe  sorte,  whome  wicked  lone  dothe  thrall, 
Like  brutishe  beastes  do  passe  theire  time,  and  haue  no  sence  at  all. 
And  thoughe  that  wisedome  woulde,  they  shoulde  againe  retire, 
Yet,  they  had  rather  CIRCES  serue,  and  burne  in  theire  desire. 
Then,  loue  the  onelie  crosse,  that  clogges  the  worlde  with  care, 
Oh  stoppe  your  eares,  and  shutte  your  eies,  of  CiRCES  cuppes  beware." 

The  striking  lines  from  Horace  (Epist.  i.  2)  are  added,— 

"  Sirenum  voces,  &>  Circes  pocnla  nosti  : 
QIKZ  si  cum  sociis  stultus,  cupidusq1  bibisset, 
Sub  domina  meretrice  fuisset  turpis,  Or3  excors, 
Vixisset  canis  immundus,  vel  arnica  Into  sits" 

i.e.        "  Of  Sirens  the  voices,  and  of  Circe  the  cups  thou  hast  known  : 

Which  if,  with  companions,  anyone  foolish  and  eager  had  drunk, 
Under  a  shameless  mistress  he  has  become  base  and  witless, 
Has  lived  as  a  dog  unclean,  or  a  sow  in  friendship  with  mire." 

Circe  and  Ulysses  are  also  briefly  treated  of  in  The  Golden 
Emblems  of  Nicholas  Reusner,  with  Stimmer's  plates,  1591, 
sign  (5.  ». 

Bellua  dira  libido 
Fulcra  facit  Circe  meretrlx  excordia  cor  da  : 

Fortis  Vlyfsed,  quifapit,  arte  domat. 
3n8  aSte!)  wtjitubert  (Sitce  »tt, 

-§urn  son  ftcfy,  toer  tveif  fein  nrill. 


Reusner  (edition  1581,  p.  134),  assuming  that  "  Slothfulness 
is  the  wicked  Siren,"  builds  much  upon  Virgil  and  Horace,  as 
may  be  seen  from  the  epithets  he  employs.  We  give  only  a 
portion  of  his  Elegiacs,  and  the  English  of  them  first,  — 

"  Through  various  chances,  through  so  many  dangerous  things, 

While  again  and  again  the  Ithacan  pursues  the  long  ways  : 

The  voices  of  Sirens,  and  of  Circe  the  kingdoms  he  forsakes  : 

Nor  does  the  bland  Atlantis  his  journey  retard. 
But  as  Circe  to  his  companions  supplies  the  potations  foul, 
Witless  and  shameless  this  becomes  a  sow  and  that  a  dog." 


252 


CLASSIFICA  TION. 

Improba  Siren  defidia. 
EMBLEMA   xxiv. 

Ad  Vuolfgangum,  &   Carolum  Reek- 
linger 'os,  Pair.  Auguftanos. 


[CHAP.   VI. 


Reusner,  1581. 

r  varios  cafus,  per  tot  difcrimina  rerum, 
Dum  tongas  Ithacus  it%,  redit^  vias  : 
Sirenum  voces,  &  Circes  regna  relinquit : 

Blanda  nee  Atlantis  tune  remoratur  iter. 
At  focijs  Circe  dum  poculafceda  miniflrat : 
Excors,  &  turpis  fus  fit  hie,  ille  canis. 


Now,  Shakespeare's  allusions  to  Circe  are  only  two.  The 
first,  in  the  Comedy  of  Errors  (act  v.  sc.  I,  1.  269,  vol.  i.  p.  455), 
when  all  appears  in  inextricable  confusion,  and  Antipholus  of 
Ephesus  demands  justice  because  of  his  supposed  wrongs.  The 
Duke  Solinus  in  his  perplexity  says, — 

"  Why  what  an  intricate  impeach  is  this  ! 
I  think  you  all  have  drunk  of  Circe's  cup." 

The  second,  in  I  Henry  VI.  (act  v.  sc.  3,  1.  30,  vol.  v.  p.  86).     On 
fighting  hand  to  hand  with  the  Maid  of  Orleans,  and  taking  her 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS. 


253 


prisoner,  the  Duke  of  York,  almost  like  a  dastard,  reproaches 
and  exults  over  her  noble  nature, — 

"  Damsel  of  France  I  think,  I  have  you  fast : 
Unchain  your  spirits  now  with  spelling  charms 
And  try  if  they  can  gain  you  liberty. 
A  goodly  prize,  fit  for  the  devil's  grace  ! 
See,  how  the  ugly  witch  doth  bend  her  brows, 
As  if,  with  Circe,  she  would  change  my  shape ! " 

So  closely  connected  with  Circe  are  the  Sirens  of  fable  that 
it  is  almost  impossible  to  treat  of  them  separately.  As  usual, 
Alciat's  is  the  Emblem-book  (edition  1551)  from  which  we 
obtain  the  illustrative  print  and  the  Latin  stanzas. 

Sirenes. 


Alciat,  1551. 

Abfque  alts  <volucres,  &  cruribus  abfque  puellas, 

Roftro  abfy ,  &  pifces,  qui  tamen  ore  canant : 
S^uis  putet  effe  <vllos  ?  iungi  hxc  natura  negauit 

Sirenes  fieri  fed  potuijje  docent. 
Illicitum  eft  mulier,  qua  in  pifcem  deftnit  atrum, 

Plurima  quod fe cum  monftra  libido  <vehit. 
AfpeElU)  <verbis,  animi  candor e,  trahuntur^ 

Parthenope,  Ligia,  Leucq/iaq}  <viri. 
Has  mufae  explumant,  has  atque  illudit  Vlyjfes. 

Scilicet  eft  doftis  cum  meretrice  nihil. 


254  CLASSIFICATION.  [CHAP.  VI. 

It  is  Whitney  who  provides  the  poetic  comment  (p.  10),— 

"  T  T  TITHE  pleasaunte  tunes,  the  SYRENES  did  allure 

*  *     Vlisses  wise,  to  listen  to  theire  songe  : 
But  nothinge  could  his  manlie  harte  procure, 
Hee  sailde  awaie,  and  scap'd  their  charming  stronge, 
The  face,  he  lik'de,  the  nether  parte,  did  loathe  : 
For  womans  shape,  and  fishes  had  they  bothe. 

Which  shewes  to  vs,  when  Bewtie  seekes  to  snare 
The  carelesse  man,  whoe  dothe  no  daunger  dreede, 
That  he  shoulde  flie,  and  shoulde  in  time  beware, 
And  not  on  lookes,  his  fickle  fancie  feede  : 

Such  Mairemaides  Hue,  that  promise  onelie  ioyes  : 
But  hee  that  yeldes,  at  lengthe  him  selffe  distroies." 

The  Dialogue,  from  the  Comedy  of  Errors  (act  iii.  sc.  2,  lines 
27  and  45,  vol.  i.  pp.  425,  6),  between  Luciana  and  Antipholus 
of  Syracuse,  maintains, — 

"  'Tis  holy  sport,  to  be  a  little  vain, 

When  the  sweet  breath  of  flattery  conquers  strife  ; " 

and  the  remonstrance  urges, — 

"  O  train  me  not,  sweet  mermaid,  with  thy  note, 

To  drown  me  in  thy  sister  flood  of  tears  : 
Sing,  siren,  for  thyself,  and  I  will  dote  : 

Spread  o'er  the  silver  waves  thy  golden  hairs, 
And,  as  a  bed  I'll  take  them,  and  there  lie  ; 

And,  in  that  glorious  supposition,  think 
He  gains  by  death  that  hath  such  means  to  die." 

And  in  the  Titus  Andronicus  (act  ii.  sc.  i,  1.  18,  vol.  vi. 
p.  451),  Aaron,  the  Moor,  resolves,  when  speaking  of  Tamora 
his  imperial  mistress, — 

"  Away  with  slavish  weeds  and  servile  thoughts  ! 
I  will  be  bright,  and  shine  in  pearl  and  gold, 
To  wait  upon  this  new-made  empress. 
To  wait,  said  I  ?  to  wanton  with  this  queen, 
This  goddess,  this  Semiramis,  this  nymph, 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS.  255 

This  siren,  that  will  charm  Rome's  Saturnine, 
And  see  his  shipwreck  and  his  commonweal's."  * 

To  recommend  the  sentiment  that  "Art  is  a  help  to  nature," 
Alciatus  (edition  1551,  p.  107)  introduces  the  god  Mercury  and 
the  goddess  Fortune, — 

Ars  Naturam  adiuuans. 


Alciat,  1551. 

Vt  spharae  For  tun  a,  cubojic  infidet  Hermes  : 

Artibus  hie,  <varijs  cafibus  ilia  prxefl. 
Aduerfus  <vim  Fortune  ejl  ars  fafta :  fed  artis 

Cum  for  tuna  mala  eft,fezpe  requirit  opem. 
Difce  bonas  artes  igitur  fludiofa  iuuentus, 

Qua  certae  fecum  commoda  fortis  habent. 

i.e.      "  As  on  a  globe  Fortune  rests,  so  on  a  cube  Mercury : 
In  various  arts  this  one  excells,  that  in  mischances. 
Against  the  force  of  Fortune  art  is  used  ;  but  of  art, 
When  Fortune  is  bad,  she  often  demands  the  aid. 
Learn  good  arts  then  ye  studious  youth, 
Which  being  sure  have  with  themselves  the  advantages  of  destiny." 

*  To  the  device  of  the  Sirens,  Camerarius,  Ex  Aquatilibiis  (ed.  1604,  leaf  64), 
affixes  the  motto,  "  MORTEM  DABIT  IPSA  VOLVPTAS," — Pleasure  itself  will  give  death, 
— and  with  several  references  to  ancient  authors  adds  the  couplet, — 
"  Dulcisono  mnlccnt  S Irenes  cethera  cantu  : 

Tu  fuge,  ne  pereas,  callida  monstra  maris," 

i.  e.  "  With  sweet  sounding  song  the  Sirens  smooth  the  breeze  : 

Flee,  lest  thou  perish,  the  crafty  monsters  of  the  seas." 


256 


CLASS/PICA  TION. 


[CHAP,  VI. 


Sambucus  takes  up  the  lyre  of  some  Emblem  Muse  and 
causes  Mercury  to  strike  a  similar  strain  to  the  saying,  "  In- 
dustry corrects  nature." 


Induftria  naturam  corrigit. 


Sambitcus,  1564. 


TAM  rude  &  incultum  nihil  eft,  induftria  poj/it 

Nature  <vitium  quin  poliij/e ,  labor. 
Inuentam  cafu  cochleam,  temereque  iacentem 

Inflruxit  neruis  nuntius  ille  Deum. 
Informem  citharam  excoluit :  nunc  gaudia  milte, 

Et  reddit  dulces  pecJine  motafonos. 
Cur  igitur  quereris,  naturam  &  fingis  inept  am  ? 

Nonne  tibi  ratio  eft  ?  muta  loquuntur,  obi. 
Rite  Jit  e  concha  teftudo,  feruit  vtrinque  : 

In  venerem  h<ec  digitis,  faplus  ilia  gula. 

The  god  is  mending  a  broken  or  an  imperfect  musical  instru- 
ment, a  lyrist  is  playing,  and  a  maiden  dancing  before  him. 
Whitney  thus  performs  the  part  of  interpreter  (p.  92), — 

"  r  I  ^HE  Lute,  whose  sounde  doth  most  delighte  the  eare 
•*•    Was  caste  aside,  and  lack'de  bothe  striges,  and  frettes  : 
Whereby,  no  worthe  within  it  did  appeare, 
MERCVRIVS  came,  and  it  in  order  settes  : 
Which  being  tun'de,  such  Harmonie  did  lende, 
That  Poettes  write,  the  trees  theire  toppes  did  bencle. 


SECT,  in.]         MYTHOLOGICAL    CHARACTERS,  257 

Eiien  so,  the  man  on  whome  dothe  Nature  froune, 
Wereby,  he  liues  dispis'd  of  euerie  wighte, 
Industrie  yet,  maie  bringe  him  to  renoume, 
And  diligence,  maie  make  the  crooked  righte  : 

Then  haue  no  doubt,  for  arte  maie  nature  helpe. 

Thinke  howe  the  beare  doth  forme  her  vgly  whelpe." 

The  cap  with  wings,  and  the  rod  of  power  with  serpents 
entwined,  are  almost  the  only  outward  signs  of  which  Shake- 
speare avails  himself  in  his  descriptions  of  Mercury,  so  that  in 
this  instance  there  is  very  little  correspondence  of  idea  or  of 
expression  between  him  and  our  Emblem  authors.  Neverthe- 
less, we  produce  it  for  what  it  is  worth. 

In  King  John  (act  iv.  sc.  2,  1.  170,  vol.  iv.  p.  67),  the  monarch 
urges  Falconbridge's  brother  Philip  to  inquire  respecting  the 
rumours  that  the  French  had  landed, — 

"  Nay,  but  make  haste  ;  the  better  foot  before. 
O,  let  me  have  no  subject  enemies, 
When  adverse  foreigners  affright  my  towns 
With  dreadful  pomp  of  stout  invasion  ! 
Be  Mercury,  set  feathers  to  thy  heels 
And  fly  like  thought  from  them  to  me  again." 

One  of  Shakespeare's  gems  is  the  description  which  Sir  Richard 
Vernon  gives  to  Hotspur  of  the  gallant  appearance  of  "  The  nim- 
ble-footed madcap  Prince  of  Wales"  (i  Henry  IV.,  act  iv.  sc.  1, 1. 

104,  vol.  iv.  p.  318),— 

"  I  saw  young  Harry,  with  his  beaver  on, 
His  cuisses  on  his  thighs,  gallantly  arm'd, 
Rise  from  the  ground  like  feathered  Mercury, 
And  vaulted  with  such  ease  into  his  seat, 
As  if  an  angel  dropp'd  down  from  the  clouds, 
To  turn  and  wind  a  fiery  Pegasus 
And  witch  the  world  with  noble  horsemanship." 

The  railer  Thersites  (Troilus  and  Cressida,  act  ii.  sc.  3,  1.  9, 
vol.  vi.  p.  1 68)  thus  mentions  our  Hermes,— 

O  thou  great  thunder-darter  of  Olympus,  forget  that  thou  art  Jove  the 
king  of  gods  ;  and  Mercury,  lose  all  the  serpentine  craft  of  thy  caduceus." 


258  CLASSIFICATION.  [CHAP.  VI. 

And  centering  the  good  qualities  of  many  into  one,  Hamlet 
(act  iii.  sc.  4,  1.  55,  vol.  viii.  p.  ill)  sums  up  to  his  mother  the 
perfections  of  his  murdered  father, — 

"  See  what  a  grace  was  seated  on  this  brow  ; 
Hyperion's  curls,  the  front  of  Jove  himself, 
An  eye  like  Mars,  to  threaten  and  command  ; 
A  station  like  the  herald  Mercury 
New  lighted  on  a  heaven-kissing  hill  ; 
A  combination  and  a  form  indeed, 
Where  every  god  did  seem  to  set  his  seal 
To  give  the  world  assurance  of  a  man." 

Personifications,  or,  rather,  deifications  of  the  powers  and 
properties  of  the  natural  world,  and  of  the  influences  which 
presided  over  them,  belong  especially  to  the  ancient  Mythology. 
Of  these,  there  is  one  from  the  Emblem  writers  decidedly 
claiming  our  notice,  I  may  say,  our  admiration,  because  of  its 
essential  truth  and  beauty  ; — it  is  the  Personification  of  Fortune, 
or,  as  some  writers  name  the  goddess,  Occasion  and  Oppor- 
tunity ;  and  it  is  highly  poetical  in  all  its  attributes. 

From  at  least  four  distinct  sources  in  the  Emblem-books  of 
the  sixteenth  century,  Shakespeare  might  have  derived  the  cha- 
racteristics of  the  goddess  ;  from  Alciat,  Perriere,  Corrozet,  and 
Whitney. 

Perriere's  "THEATRE  DES  BONS  ENGINS,"  Paris,  1539,  pre- 
sents the  figure  with  the  stanzas  of  old  French  here  subjoined, — 

"  Qvel  est  le  no  de  la  presente'  image? 
Occasion  ce  nome  pour  certain. 
Qui  fut  1'autheur?     Lysipus  fist  Fouurage  : 
Et  que  tient  elle'  ?  vng  rasoir  en  sa  main. 
Pourquoi  ?  pourtatque  tout  trache  souldain. 
Elle'  a  cheueulx  deuat  &  non  derriere  ? 
Cest  pour  mostrer  quelle  tourne  e  arriere 
So  fault  le  coup  quad  on  la  doibt  tenir 
Aulx  talons  a  dis  esles  ?  car  barriere 
(Quellesque  soit)  ne  la  peult  retenir." 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS. 


259 


These  French  verses  may  be  accepted  as  a  translation  of 
the  Latin  of  Alciat,  on  the  goddess  Opportunity  ;  as  may 
be  seen,  she  is  portrayed  standing  on  a  wheel  that  is  floating 
upon  the  waves  ;  and  as  the  tide  rises,  there  are  apparently 
ships  or  boats  making  for  the  shore.  The  figure  holds  a 
razor  in  the  right  hand,  has  wings  upon  the  feet,  and 
abundance  of  hair  streaming  from  the  forehead. 

In  occafionem. 


Alciat,  1551. 

Lyfippi  hoc  opus  eft,  Syrian  cut  patria.     Tu  quis  ? 

CuncJa  domans  capti  temporis  articulus. 
Cur  pinnis  ft  as  ?  vfque  rotor.     Talaria  plant  is 

Cur  refines  ?     Paffim  me  leuls  aura  rapit. 
In  dextra  efl  tenuis  die  <vnde  nouacula  ?     Acutum 

Omni  acie  hoc  fignum  me  magis  eJJTe  docet. 
Cur  in  f rote  coma  ?     Occur  res  <vt  predar.     At  heus  tu 

Die  cur  pars  calua  eft  pofterior  capitis  f 
Ne  femel  alipedemfi  quis  per  mitt  at  abire, 

Ne  pojfim  apprehenfo  poftmodo  crine  capi. 
Tali  opifex  nos  arte,  tut  caufa,  edidit  hofpes. 

Vttfa  omnes  moneam  :  pergula  aperta  tenet. 


Whitney's    English    lines    (p.    181)    sufficiently   express   the 
meaning,  both  of  the  French  and  of  the  Latin  stanzas, — 


26o  CLASSIFICATION.  [CHAP.  VI. 

"  AT  THAT  creature  thou  ?     Occasion  I  doe  showe. 

*  *     On  whirling  wheele  declare  why  doste  thou  stande  ? 
Bicause,  I  still  am  tossed  too,  andfroe. 
Why  doest  thou  houlde  a  rasor  in  thy  hande  ? 
That  men  maie  knowe  I  cut  on  euerie  side, 
And  when  I  come,  I  armies  can  de^iide. 

But  wherefore  hast  thou  winges  vppon  thy  feete  ? 
To  showe,  how  lighte  I flie  with  little  winde. 
What  meanes  longe  lockes  before  ?  that  suche  as  meete, 
Maye  houlde  atfirste,  when  they  occasion  finde. 

Thy  head  behinde  all  balde,  what  telles  it  more  ? 

That  none  shoulde  houlde,  that  let  me  slippe  before. 

Why  doest  thou  stande  within  an  open  place  ? 
That  I  maye  warne  all  people  not  to  staye, 
But  at  thefirste,  occasion  to  imbrace, 
And  when  shee  comes,  to  meete  her  by  the  waye. 

Lysippus  so  did  think e  it  best  to  bee, 

Who  did  deuise  mine  image,  as  you  see. 

The  correspondent  part  to  the  thought  contained  in  these 
three  writers  occurs  in  the  Jtilius  Ccesar  (act  iv.  sc.  3,  1.  213, 
vol.  vii.  p.  396),  where  Brutus  and  Cassius  are  discussing  the 
question  of  proceeding  to  Philippi  and  offering  battle  to  "  young 
Octavius  and  Marc  Antony ;  "  it  is  decided  by  the  argument 
which  Brutus  urges  with  much  force, — 

"  Our  legions  are  brim-full,  our  cause  is  ripe  : 
The  enemy  increaseth  every  day ; 
We,  at  the  height,  are  ready  to  decline. 
There  is  a  tide  in  the  affairs  of  men 
Which  taken  at  the  flood  leads  on  to  fortune  ; 
Omitted,  all  the  voyage  of  their  life 
Is  bound  in  shallows  and  in  miseries. 
On  such  a  full  sea  are  we  now  afloat, 
And  we  must  take  the  current  when  it  serves, 
Or  lose  our  ventures." 

These  lines,  we  may  observe,  are  an  exact  comment  on 
Whitney's  text  ;  there  is  the  "  full  sea,"  on  which  Fortune  is 


SECT,  in.]         MYTHOLOGICAL    CHARACTERS. 


261 


"  now  afloat ;  "  and  people  are  all  warned,  "  at  the  first  occasion 
to  embrace,"  or  "  take  the  current  when  it  serves." 

The  "  images,"  too,  of  Fortune  and  of  Occasion  in  Corrozet's 
"  HECATOMGRAPHIE,"  Embs.  41  and  84,  are  very  suggestive  of 
the  characteristics  of  the  "  fickle  goddess." 


Fortun^  eft  vng  euenement 
Inopine  &  treffoubdain, 
Ne  luy  donne  doncques  (mondain) 
Effedt  deffus  toy  nullement. 


Corrozet,  1540. 

Fortune  is  standing  upright  upon  the  sea  ;  one  foot  is 
on  a  fish,  the  other  on  a  globe  ;  and  in  the  right  hand  is  a 
broken  mast.  Occasion  is  in  a  boat  and  standing  on  a  wheel ; 
she  has  wings  to  her  feet,  and  with  her  hands  she  holds  out 
a  swelling  sail  ;  she  has  streaming  hair,  and  behind  her 
in  the  stern  of  the  boat  Penitence  is  seated,  lamenting  for 
opportunities  lost.  The  stanzas  to  "  Occasion  "  are  very 
similar  to  those  of  other  Emblem  writers  ;  and  we  add,  there- 


262  CLASSIFICATION.  [CHAP.  VI. 

fore,    only   the    English    of    the    verses    to    "  Fortune," — The 
Image  of  Fortune. 

"  A  strange  event  our  Fortune  is, 

Unlook'd  for,  sudden  as  a  shower ; 
Never  then,  worldling  !  give  to  her 
Right  over  thee  to  wield  her  power." 

A  series  of  questions  follow, — 

"  Tell  me,  O  fortune,  for  what  end  thou  art  holding  the  broken  mast 
wherewith  thou  supportest  thyself?  And  why  also  is  it  that  thou  art  painted 
upon  the  sea,  encircled  with  so  long  a  veil  ?  Tell  me  too  why  under  thy  feet 
are  the  ball  and  the  dolphin  ?  " 

As  in  the  answers  given  by  Whitney,  there  is  abundant  plain- 
ness in  Corrozet, — 

"  It  is  to  show  my  instability,  and  that  in  me  there  is  no  security.  Thou 
seest  this  mast  broken  all  across, — this  veil  also  puffed  out  by  various  winds, 
—beneath  one  foot,  the  dolphin  amid  the  waves  ;  below  the  other  foot,  the 
round  unstable  ball ; — I  am  thus  on  the  sea  at  a  venture.  He  who  has  made 
my  portraiture  wishes  no  other  thing  to  be  understood  than  this,  that  distrust 
is  enclosed  beneath  me  and  that  I  am  uncertain  of  reaching  a  safe  haven  ; — 
near  am  I  to  danger,  from  safety  ever  distant  :  in  perplexity  whether  to  weep 
or  to  laugh, — doubtful  of  good  or  of  evil,  as  the  ship  which  is  upon  the  seas 
tossed  by  the  waves,  is  doubtful  in  itself  where  it  will  be  borne.  This  then  is 
what  you  see  in  my  true  image,  hither  and  thither  turned  without  security." 

A  description,  very  similar  to  this,  occurs  in  the  dia- 
logue between  Fluellen,  a  Welsh  captain,  and  "  an  aunchient 
lieutenant "  Pistol  (Henry  V.,  act  iii.  sc.  6,  1.  20,  vol.  iv. 
P-  543),- 

"  Pist.  Captain,  I  thee  beseech  to  do  me  favours  : 
The  Duke  of  Exeter  doth  love  thee  well. 

Flu.  Ay,  I  praise  God  ;  and  I  have  merited  some  love  at  his  hands. 

Pist.  Bardolph,  a  soldier,  firm  and  sound  of  heart, 
And  of  buxom  valour,  hath,  by  cruel  fate, 
And  giddy  Fortune's  furious  fickle  wheel, 


SECT,  in.]         MYTHOLOGICAL    CHARACTERS.  263 

That  goddess  blind,  * 

That  stands  upon  the  rolling,  restless  stone — 

Flu.  By  your  patience,  Aunchient  Pistol,  Fortune  is  painted  blind,  with  a 
muffler  afore  her  eyes,  to  signify  to  you  that  fortune  is  blind ;  and  she  is 
painted  also  with  a  wheel,  to  signify  to  you,  which  is  the  moral  of  it,  that 
she  is  turning,  and  inconstant,  and  mutability,  and  variation  :  and  her  foot, 
look  you,  is  fixed  upon  a  spherical  stone,  which  rolls,  and  rolls,  and  rolls  : 
in  good  truth,  the  poet  makes  a  most  excellent  description  of  it :  Fortune 
is  an  excellent  moral." 

Fortune  on  the  sphere,  or  "  rolling,  restless  stone,"  is  also  well 
pictured  in  the"M[KPOKO2MO2,"  editions  1579  and  1584.  The 
whole  device  is  described  in  the  French  version, — 

"  L'oiseau  de  Paradis  est  de  telle  nature 
Qu'en  nul  endroit  qui  soit  on  ne  le  void  iucher, 
Car  il  n'a  point  de  pieds,  &  ne  peut  se  rucher 
Ailleurs  qu'en  1'air  serein  dont  il  prend  nourriture. 

En  cest  oiseau  se  void  de  Fortune  1'image, 
En  laquelle  n'y  a  sinon  legretd  : 
lamais  son  cours  ne  fut  egal  &  arrestS, 
Mais  tousiours   incertain  inconstant  &  volage. 

Pour  la  quelle  raison  on  souloit  la  pourtraire, 
Tenant  vn  voile  afin  d'aller  au  gr£  du  vent, 
Des  aisles  aux  costez  pour  voler  bien  auant, 
Ayant  les  pieds  coupez,  estant  sur  vne  sphaere  ; 

Et  pourtant  cestuy  la  qui  se  fie  en  Fortune, 
Au  lieu  de  fier  au  grand  Dieu  souuerain, 
Est  bien  maladuise*,  &  se  monstre  aussi  vain 
Que  celuy  qui  bastit  sur  le  dos  de  Neptune." 

The  ideas  of  the  Emblematists  respecting  the  goddess 
"  OCCASION  "  are  also  embodied  by  Shakespeare  two  or  three 

*  Shakespeare's  "goddess  blind"  and  his  representation  of  blind  Love  have 
their  exact  correspondence  in  the  motto  of  Otho  Vaenius,  "  Blynd  fortune  blyndeth 
loue ; "  which  is  preceded  by  Cicero's  declaration,  "  Non  solum  ipsa  fortuna  caeca 
est  :  sed  etiam  plerumque  caecos  efficit  quos  complexa  est :  adeo  vt  spernant  amores 
veteres,  ac  indulgeant  nouis," — 

"  Sometyme  blynd  fortune  can  make  loue  bee  also  blynd, 
And  with  her  on  her  globe  to  turne  &  wheel  about, 
When  cold  preuailes  to  put  light  loues  faint  feruor  out, 
But  ferwent  loyall  loue  may  no  such  fortune  fynde." 


264  CLASSIFICATION.  [CHAP.  VI. 

times.  Thus  on  receiving  the  evil  tidings  of  his  mother's  death 
and  of  the  dauphin's  invasion,  King  John  (act  iv.  sc.  2,  1.  125, 
vol.  iv.  p.  65)  exclaims, — 

"  Withhold  thy  speed,  dreadful  Occasion  ! 
O  make  a  league  with  me,  till  I  have  pleased 
My  discontented  peers  ! " 

In  2  Henry  IV.  (act  iv.  sc.  I,  1.  70,  vol.  iv.  p.  431)  the  Arch- 
bishop of  York  also  says, — 

"  We  see  which  way  the  stream  of  time  doth  run, 
And  are  enforced  from  our  most  quiet  there 
By  the  rough  torrent  of  occasion." 

Most  beautiful  too,  and  forcible  are  the  stanzas  on  Occasion, 
or  Opportunity  from  Lucrece  (lines  869 — 882,  vol.  ix.  p.  515), — 

"  Unruly  blasts  wait  on  the  tender  spring  ; 
Unwholesome  weeds  take  root  with  precious  flowers  ; 
The  adder  hisses  where  the  sweet  birds  sing  ; 
What  virtue  breeds  iniquity  devours  : 
We  have  no  good  that  we  can  say  is  ours 

But  ill-annexed  Opportunity 

Or  kills  his  life  or  else  his  quality. 

O  Opportunity,  thy  guilt  is  great  ! 

JTis  thou  that  executest  the  traitor's  treason  ; 

Thou  set'st  the  wolf  where  he  the  lamb  may  get ; 

Whoever  plots  the  sin,  thou  point'st  the  season  ; 

'Tis  thou  that  spurn'st  at  right,  at  law,  at  reason, 
And  in  thy  shady  cell,  where  none  may  spy  him, 
Sits  Sin,  to  seize  the  souls  that  wander  by  him."  * 

Very  appropriately  in  illustration  of  these  and  other  passages 
in  Shakespeare  may  we  refer  to  John  David's  work,  "  OCCASIO 


*  Well  shown  in  Whitney's  device  to  the  motto,  Veritas  imticta, — "Unconquered 
truth"  (p.  166), — where  the  Spirits  of  Evil  are  sitting  in  "shady  cell"  to  catch  the 
souls  of  men,  while  the  Great  Enemy  is  striving — 

"  with  all  his  maine  and  mighte 
To  hide  the  truthe,  and  dimme  the  lawe  deuine." 


FRONTE  CAPILLATA  RE.MORATVR  .  7. 


clerrarum   uuaftre  traSlus , 
luutncs     (dies  .    O^omti    vos    ergo   *VaUtc. 
B.    Qias  jukite  color  iftc  -faqa?  C.  Qum  ft  -fuaa,  tandem. 

^^"  'f  •         /-r'  •          r1      ^^     -^  *s-r      r 

Ccrti    tun    esl; }  yennas  Jeutevi  Den  salwjtyaces 
Stftat  a&uc.  P.  Cur  tot  wqwdquam,  verba  per  auras 
^Perdiiis  ?   TWU;    alw ,  -ntora    wlU,  nccfo;  valetc. 
IE.  dufiuftat  ?  JparsvJ    potuis     pro  Jrontc    capittos 

>  a2     tuiTam     donee   perauxero    met&m,. 
HP.    LauJLo    anttrws ,  iwm.   vi    coin  DEA    aaiuUt    afraca,. 

£/  cJ 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  265 

ARREPTA  NEGLECTA"  (4to,  Antwerp,  1605), — Opportunity 'seized 
or  neglected.  It  contains  twelve  curiously  beautiful  plates  by 
Theodore  Galle,  showing  the  advantages  of  seizing  the  Occasion, 
the  disadvantages  of  neglecting  it.  We  choose  an  example,  it  is 
Schema  7,  cap.  I,  p.  117.  (See  Plate  XII.) 

"  While  Time  is  passing  onward  men  keep  Occasion  back  by  seizing  the 
hair  on  her  forehead." 

Various  speakers  are  introduced, — 

"  Time.  Now  the  need  is  to  visit  other  climes  of  earth 

And  other  youths.     Ye  warned  then,  bid  farewell. 

B.  What  this  heat  of  sudden  flight  ? 

C.  If  flight  indeed  at  length 
For  thee  is  fix'd,  her  swift  wings  let  the  bald  goddess 

At  least  rest  here. 
Occasion.  Why  to  no  purpose  words  in  air 

Waste  ye  ?  hence  elsewhere,  no  delay,  I  go  ;  farewell. 
E.         Should  she  flee  ?  rather  her  scattered  locks  in  front 

Seize  hold  of. 
Occasion.  Alas  !  freely  I  follow,  at  your  own  homes 

Will  tarry,  till  in  just  measure  I  prolong  my  stay. 
Faith.  I  praise  your  spirit,  for  by  friendly  force  the  goddess 

Rejoices  to  be  compelled." 

The  line,  "her  scattered  locks  in  front  seize  hold  of,"  has  its 
parallel  in  Othello  (act  iii.  sc.  I,  1.  47,  vol.  viii.  p.  505), — 

"  he  protests  he  loves  you, 
And  needs  no  other  suitor  but  his  likings 
To  take  the  safest  occasion  by  the  front 
To  bring  you  in  again." 

Classical  celebrities,  whether  hero  or  heroine,  wrapt  round 
with  mystery,  or  half-developed  into  historical  reality,  may  also 
form  portion  of  our  Mythological  Series. 

The  grand  character  in  ^schylus,  Prometheus  Bound,  is 
depicted  by  at  least  four  of  the  Emblematists.  The  hero  of 
suffering  is  reclining  against  the  rock  on  Caucasus,  to  which  he 

M    M 


266 


CLASSIFICA  TION. 


[CHAP.  VI. 


had  been  chained ;  a  vulture  is  seated  on  his  broad  chest  and 
feeding  there.  Alciat's  Emblem,  from  the  Lyons  edition  of  1551, 
or  Antwerp,  1581,  number  102,  has  the  motto  which  reproves 
men  for  seeking  the  knowledge  which  is  beyond  them  :  Things 
which  are  above  us,  are  nothing  to  us, — they  are  not  our  concern. 
The  whole  fable  is  a  warning. 


Qi^ae  fupra  nos,  nihil  ad  nos. 
T 


Alciat,  1551. 

Caucaji  a  sternum  pendens  in  rupe  Prometheus 

Diripitur  facri  prxpetis  <vngue  iecur. 
Et  nollet  fecijjie  hominem  :  figulos^  per  of  us 

Accenfam  rapto  damnat  ab  ignefacem. 
Roduntur  <variis  prudentum  pe flora  curls, 

Qui  cceli  affettant  fcire,  deumque  'vices. 

"  On  the  Caucasian  rock  Prometheus  eternally  suspended, 

Has  his  liver  torn  in  pieces  by  talons  of  an  accursed  bird. 
And  unwilling  would  he  be  to  have  made  man ;  and  hating  the  potters 

Dooms  to  destruction  the  torch  lighted  from  stolen  fire. 
Devoured  by  various  cares  are  the  bosoms  of  the  wise, 
Who  affect  to  know  secrets  of  heaven,  and  courses  of  gods." 

Similarly  as  a  dissuasive  from  vain  curiosity,  Anulus,  in  his 
"PlCTA  POESIS  "  (Lyons,  1555,  p.  90),  sets  up  the  notice, — 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS.  267 


CVRIOSITAS    FVGIENDA. 

"  Curiosity  must  be  shunned." 


Aneatt,  1555. 

MITTE  arcana  Dei  ccelum^  inquirers  quid  Jit. 

Necfapias  plufquam  debet  homo  fapere. 
Caucafeo  <vinftus  monet  hoc  in  rupe  Prometheus 

Scrutator  cceli,fur  &  in  igne  louis. 
Cut  cor  edax  Aquila  in  rediuiuo  <vulnere  rodit. 

Materia  p&nis  fufficiente  fuis. 

"H  o\ 


The  device  is  almost  the  same  with  Alciat's,  —  the  stanzas,  how- 
ever, are  a  little  different,  — 

"  Forbear  to  inquire  the  secrets  of  God,  and  what  heaven  may  be. 

Nor  be  wise  more  than  man  ought  to  be  wise. 
Bound  on  Caucasian  rock  this  does  Prometheus  warn, 

Scrutator  of  heaven  and  thief  in  the  fire  of  Jove. 
His  heart  the  voracious  Eagle  gnaws  in  ever  reviving  wound, 

Material  sufficient  this  for  all  his  penalties." 

"  As  for  Prometheus  pain  gnaws  his  heart  the  bosom  within, 
So  is  pain  the  eagle  that  consumes  the  heart." 

The  "  MlCROCOSME,"  first  published  in  1579,  fol.  5,  celebrates 
in  French  stanzas  Prometheus  and  his  cruel  destiny  ;  a  fine 
device  accompanies  the  emblem,  representing  him  bound  not  to 
Caucasus,  but  to  the  cross. 

"  Promethee  s'  estant  guinde'  iusques  aux  cieux 
Pour  desrober  le  feu  des  redoubables  Dieux, 
Pour  retribution  de  ceste  outrecuidance 
Fut  par  eux  poursuiui  d'une  rude  vengeance. 


268  CLASSIFICATION.  [CHAP.  VI. 

II  fut  par  leur  decret  a  la  croix  attache*, 
La  ou  pour  expier  deuenant   son  peche', 
L'Aigle  de  lupiter  le  becquetoit  sans  cesse, 
Si  que  ce  patient  estoit  en  grand  oppressed 

But  Reusner's  Emblems  (bk.  i.  Emb.  27,  p.  37,  edition  1581), 
and  Whitney's  (p.  75),  adopt  the  same  motto,  O  vita  misero 
longa, — "  O  life,  how  long  for  the  wretched."  The  stanzas  of 
the  latter  may  be  accepted  as  being  in  some  degree  representative 
of  those  of  the  former, — 


"HPo 
_L 


Caucasus,  behoulde  PROMETHEVS  chain'de, 
Whose  liuer  still,  a  greedie  gripe  dothe  rente  : 
He  neuer  dies,  and  yet  is  alwaies  pain'de, 
With  tortures  dire,  by  which  the  Poettes  ment, 
That  hee,  that  still  amid  misfortunes  standes, 
Is  sorrowes  slaue,  and  bounde  in  lastinge  bandes. 

For,  when  that  griefe  doth  grate  vppon  our  gall, 

Or  surging  seas,  of  sorrowes  moste  doe  swell, 

That  life  is  deathe,  and  is  no  life  at  all, 

The  liuer  rente,  it  dothe  the  conscience  tell : 

Which  being  launch'de,  and  prick'd,  with  inward  care, 
Although  wee  Hue,  yet  still  wee  dyinge  are." 

How  Shakespeare  applies  this  mythic  story  appears  in  the 
Titus  Andronicus  (act  ii.  sc.  I,  1.  14,  vol.  vi.  p.  451),  where  Aaron, 
speaking  of  his  queen,  Tamora,  affirms  of  himself, — 

"  Whom  thou  in  triumph  long 
Hast  prisoner  held,  fetter'd  in  amorous  chains, 
And  faster  bound  to  Aaron's  charming  eyes 
Than  is  Prometheus  tied  to  Caucasus." 

And  still  more  clearly  is  the  application  made,  I  Henry  VI.  (act 
iv.  sc.  3,  1.  17,  vol.  v.  p.  71),  when  Sir  William  Lucy  thus  urges 

York  — 

"  Thou  princely  leader  of  our  English  strength, 
Never  so  needful  on  the  earth  of  France, 
Spur  to  the  rescue  of  the  noble  Talbot, 
Who  now  is  girdled  with  a  waist  of  iron 
And  hemm'd  about  with  grim  destruction  :  " 


SECT,  ill.]         MYTHOLOGICAL     CHARACTERS.  269 

and  at  York's  inability,  through  "  the  vile  traitor  Somerset,"  to 
render  aid,  Lucy  laments  (1.  47,  p.  72), — 

"  Thus,  while  the  vulture  of  sedition 
Feeds  in  the  bosoms  of  such  great  commanders, 
Sleeping  neglection  doth  betray  to  loss 
The  conquest  of  our  scarce  cold  conqueror, 
That  ever  living  man  of  memory, 
Henry  the  Fifth." 

It  may  readily  be  supposed  that  in  writing  these  passages 
Shakespeare  had  in  memory,  or  even  before  him,  the  delinea- 
tions which  are  given  of  Prometheus,  for  the  vulture  feeding  on 
the  heart  belongs  to  them  all,  and  the  allusion  is  exactly  one  of 
those  which  arises  from  a  casual  glance  at  a  scene  or  picture 
without  dwelling  on  details. 

This  casual  glance  indeed  seems  to  have  been  the  way 
in  which  our  Dramatist  appropriated  others  of  the  Emblem 
sketches.  In  the  well-known  quarrel  scene  between  Brutus  and 
Cassius,  in  Julius  Ccesar  (act  iv.  sc.  3,  1.  21,  vol.  vii.  p.  389), 
Brutus  demands, — 

"What,  shall  one  of  us, 

That  struck  the  foremost  man  of  all  this  world 

But  for  supporting  robbers,  shall  we  now 

Contaminate  our  fingers  with  base  bribes, 

And  sell  the  mighty  space  of  our  large  honours 

For  so  much  trash  as  may  be  grasped  thus  ? 

I  had  rather  be  a  dog,  and  bay  the  moon, 

Than  such  a  Roman." 

The  expression  is  the  perfect  counterpart  of  Alciat's 
1 64th  Emblem  (p.  571,  edition  Antwerp,  1581)  ;  the  motto, 
copied  by  Whitney  (p.  213),  is,  Inanis  impetus,  —  "A  vain 
attack." 

"  By  night,  as  at  a  mirror,  the  dog  looks  at  the  lunar  orb  : 
And  seeing  himself,  believes  another  dog  to  be  on  high, 


270 


CLASSIFICA  T1ON. 


[CHAP.  VI. 


And  barks  :  but  in  vain  is  his  angry  voice  driven  by  winds, 
The  silent  Diana  ever  onward  goes  in  her  course."  * 

The  device  engraved  on  Alciat's  and  Whitney's  pages  depicts 
the  full  moon  surrounded  by  stars,  and  a  large  dog  baying. 
Whitney's  stanzas  give  the  meaning  of  Alciat's,  and  also  of 
Beza's,  which  follow  below, — 

"  T)Y  shininge  lighte,  of  wannishe  CYNTHIAS  raies, 
*^  The  dogge  behouldes  his  shaddowe  to  appeare  : 
Wherefore,  in  vaine  aloude  he  barkes,  and  baies, 
And  alwaies  thoughte,  an  other  dogge  was  there  : 
But  yet  the  Moone,  who  did  not  heare  his  queste, 
Hir  woonted  course,  did  keep  vnto  the  weste. 

This  reprehendes,  those  fooles  which  baule,  and  barke, 
At  learned  men,  that  shine  aboue  the  reste  : 
With  due  regarde,  that  they  their  deedes  should  marke, 
And  reuerence  them,  that  are  with  wisedome  bleste  : 
But  if  they  striue,  in  vaine  their  winde  they  spende, 
For  woorthie  men,  the  Lorde  doth  still  defende." 

The  same  device  to  a  different  motto,  "DESPICIT  ALTA  CANis," 
— The  dog  despises  high  things, — is  adopted  by  Camerarius,  Ex 

A  nim.  quadrup.,  p.  63, 
edition  1595, — 

"  Why  carest  thou  for  the 
angry  thorns  of  a  vain 
speaking  tongue  ? 
Diana  on  high  cares  not 
for  the  loud-barking 
dog."  f 

We  will  conclude 
our    "  baying "    with 
,  ed.  1580.  Beza's  22nd  Emblem. 

"  LVNAREM  noctu,  vt  specuhun,  cants  inspicit  orbem : 

Seq.  videns,  altum  credit  inesse  canem, 
Et  latrat :  sed  frustra  agitur  vox  irrita  ventis, 
Et peragit  cursus  surda  Diana  suos" 

"  Irrita  vaniloquce  quid  curas  spicula  lingua-  ? 
Latrantem  curatnc  alia  Diana  canem." 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS.  271 

The  Latin  stanza  is  sufficiently  severe, — 

"  Luna  velut  toto  colhistrans  lumine  terras^ 
Frustra  allatrantes  despicit  alta  canes  : 
Sic  quisquis  Christum  allatrat  Christive  ministros, 
Index stultitice  spernitor  vsque  su<z" 

i.e.  "  As  the  moon  with  full  light  shining  over  the  lands, 

From  on  high  doth  despise  dogs  barking  in  vain  : 
So  whoso  is  barking  at  Christ  or  Christ's  ministers, 
The  scorner  is  the  pointer  out  even  of  his  own  folly." 

In  connection  with  the  power  of  music  Orpheus  is  named  by 
many  writers  of  the  sixteenth  century ;  and  among  the 
Emblematists  the  lead  may  be  assigned  to  Pierre  Coustau  in 
"LE  PEGME"  (Lyons,  1560,  p.  389),— 

Sur  la  harpe  £  Orpheus. 
La  force  d'Eloquence. 


Coustau,  1560. 

De  fan  gentll  &  fort  melodieux 

&<vn  inftrument,  Orpheus  feit  mouuoir 

Rocs  £f  patitz  de  leur  places  &  lieux. 

Ceft  eloquence  ay  ant  force  &  pouuoir 
Dweller  les  cueurs  de  tous  part  fan  ffauoir  ; 
Cefl  Vorateur  qui  aufort  d 'eloquence, 
Premierementfouz  meme  demourance 
Gens  beftiaulx,  &  parferocite,  &c. 


272  CLASSIFICATION.  [CHAP.  VI. 

"  On  the  Harp  of  Orpheus. 
The  Power  of  Eloquence. 

"  With  sound  gentle  and  very  melodious 
Of  an  instrumeut  Orpheus  caused  to  move 
Rocks  and  pastures  from  their  place  and  home. 

It  is  eloquence  having  force  and  power 
To  steal  the  hearts  of  all  his  learning  shows, 
It  is  the  orator  who  by  strength  of  eloquence 
First  brings  even  under  influence 
Brutal  people,  and  from  fierceness 
Gathers  them  ;  and  who  to  benevolence 
From  fierceness  then  reclaims." 

A  Narration  Philosopliique  follows  for  three  pages,  discoursing 
on  the  power  of  eloquence. 

Musicce,  &  Poeticce  vis, — "  The  force  of  Music  and  Poetry,"- 
occupies  Reusner's  2ist  Emblem  (bk.  iii.  p.  129),  oddly  enough  de- 
dicated to  a  mathematician,  David  Nephelite.  Whitney's  stanzas 
(p.  1 86),  Orptiei  Musica, — "The  Music  of  Orpheus," — bear  con- 
siderable resemblance  to  those  of  Reusner,  and  are  sufficient  for 
establishing  the  parallelism  of  Shakespeare  and  themselves. 

"  T    o,  ORPHEVS  with  his  harpe,  that  sauage  kinde  did  tame  : 
•*— '  The  Lions  fierce,  and  Leopardes  wilde,  and  birdes  about  him  came. 
For,  with  his  musicke  sweete,  their  natures  hee  subdu'de  : 
But  if  wee  thinke  his  playe  so  wroughte,  our  selues  wee  doe  delude. 
For  why  ?  besides  his  skill,  hee  learned  was,  and  wise  : 
And  coulde  with  sweetenes  of  his  tonge,  all  sortes  of  men  suffice. 
And  those  that  weare  most  rude,  and  knewe  no  good  at  all : 
And  weare  of  fierce,  and  cruell  mindes,  the  worlde  did  brutishe  call. 
Yet  with  persuasions  sounde,  hee  made  their  hartes  relente, 
That  meeke,  and  milde  they  did  become,  and  followed  where  he  wente. 
Lo,  these,  the  Lions  fierce,  these,  Beares,  and  Tigers  weare  : 
The  trees,  and  rockes,  that  lefte  their  roomes,  his  musicke  for  to  heare. 
But,  you  are  happie  most,  who  in  suche  place  doe  staye  : 
You  neede  not  THRACIA  seeke,  to  heare  some  impe  of  ORPHEVS  playe. 
Since,  that  so  neare  your  home,  Apollos  darlinge  dwelles  ; 
Who  LINVS,  &  AMPHION  staynes,  and  ORPHEVS  farre  excelles. 
For,  hartes  like  marble  harde,  his  harmonie  dothe  pierce  : 
And  makes  them  yeelding  passions  feele,  that  are  by  nature  fierce. 


SECT.  in].         MYTHOLOGICAL    CHARACTERS.  273 

But,  if  his  musicke  faile  :  his  curtesie  is  suche, 

That  none  so  rude,  and  base  of  minde,  but  hee  reclaimes  them  muche. 

Nowe  since  you,  by  deserte,  for  both,  commended  are  : 

I  choose  you,  for  a  ludge  herein,  if  truthe  I  doe  declare. 

And  if  you  finde  I  doe,  then  ofte  therefore  reioyce  : 

And  thinke,  I  woulde  suche  neighbour  haue,  if  I  might  make  my  choice." 

In  a  similar  strain,  from  the  Merchant  of  Venice  (act  v.  sc.  i, 
1.  70,  vol.  ii.  p.  361),  we  are  told  of  the  deep  influence  which 

music  possesses  over — 

"  a  wild  and  wanton  herd 
Or  race  of  youthful  and  unhandled  colts." 

The  poet  declares, — 

"If  they  but  hear  perchance  a  trumpet  sound, 
Or  any  air  of  music  touch  their  ears, 
You  shall  perceive  them  make  a  mutual  stand, 
Their  savage  eyes  turn'd  to  a  modest  gaze 
By  the  sweet  power  of  music  :  therefore  the  poet  * 
Did  feign  that  Orpheus  drew  trees,  stones  and  floods  ; 
Since  nought  so  stockish,  hard  and  full  of  rage, 
But  music  for  the  time  doth  change  his  nature. 
The  man  that  hath  no  music  in  himself, 
Nor  is  not  moved  with  concord  of  sweet  sounds, 
Is  fit  for  treasons,  stratagems  and  spoils  : 
The  motions  of  his  spirit  are  dull  as  night, 
And  his  affections  dark  as  Erebus  : 
Let  no  such  man  be  trusted." 

And  in  the  Two  Gentlemen  of  Verona  (act  iii.  sc.  2,  1.  68,  vol. 
i.  p.  129),  the  method  is  developed  by  which  Silvia,  through  the 
conversation  of  Proteus,  may  be  tempered  "to  hate  young 
Valentine  "  and  Thurio  love.  Proteus  says,— 

"  You  must  lay  lime  to  tangle  her  desires 
By  wailful  sonnets,  whose  composed  rhymes 
Should  be  full-fraught  with  serviceable  vows. 

Duke.  Ay, 
Much  is  the  force  of  heaven-bred  poesy. 

Pro.  Say  that  upon  the  altar  of  her  beauty 
You  sacrifice  your  tears,  your  sighs,  your  heart : 

*  See  Ovid's  Metamorphose^  bk.  x.  fab.  i,  2. 

N    N 


2  7 4  CLASS/PICA  TION.  [CHAP.  VI 

Write  till  your  ink  be  dry,  and  with  your  tears 
Moist  it  again  ;  and  frame  some  feeling  line 
That  may  discover  such  integrity  : 
For  Orpheus'  lute  was  strung  with  poets'  sinews  ; 
Whose  golden  touch  could  soften  steel  and  stones. 
Make  tigers  tame,  and  huge  leviathans 
Forsake  unsounded  deeps  to  dance  on  sands.""* 

Again,  in  proof  of  Music's  power,  consult  Henry  VIII.  (act  iii. 
sc.  i,  1.  i,  vol.  vi.  p.  56),  when  Queen  Katharine,  in  her  sorrowful- 
ness, says  to  one  of  her  women  who  were  at  work  around  her, — 

"  Take  thy  lute,  wench :  my  soul  grows  sad  with  troubles  ; 
Sing  and  disperse  'em,  if  thou  canst :  leave  working." 

The  sweet  simple  song  is  raised, — 

"  Orpheus  with  his  lute  made  trees 
And  the  mountain  tops  that  freeze, 

Bow  themselves  when  he  did  sing  : 
To  his  music  plants  and  flowers 
Ever  sprung,  as  sun  and  showers 

There  had  made  a  lasting  spring. 

Everything  that  heard  him  play, 
Even  the  billows  of  the  sea, 

Hung  their  heads,  and  then  lay  by. 
In  sweet  music  is  such  art, 
Killing  care  and  grief  of  heart 

Fall  asleep,  or  hearing  die." 

How  splendidly  does  the  dramatic  poet's  genius  here  shine 
forth  !  It  pours  light  upon  each  Emblem,  and  calls  into  day 
the  hidden  glories.  His  spirit  breathes  upon  a  dead  picture, 
and  rivalling  Orpheus  himself,  he  makes  the  images  breathe  and 
glance  and  live. 

The  mythic  tale  of  Actseon  transformed  into  a  stag,  and 
hunted  by  hounds  because  of  his  rudeness  to  Diana  and  her 

*  For  pictorial  representations  of  the  wonders  which  Orpheus  wrought,  see  the 
Plantinian  edition  of  "P.  OVIDII  NASONIS  METAMORPHOSES,"  Antwerp,  1591, 
pp.  238-243. 


SECT.  III.] 


MYTHOLOGICAL    CHAR  A  CTERS. 


275 


nymphs,  was  used  to  point  the  moral  of  widely  different  subjects. 
Alciatus  (Emb.  52,  ed.  1551,  p.  60)  applies  it  "to  the  harbourers 
of  assassins"  and  makes  it  the  occasion  of  a  very  true  but  very 
severe  reflection. 


In  receptatores  ficariorum 


Latronumfurum^  manus  tiln  Scaeua  per  'vrbem 
It  comes :  &  diris  cinfta  cohors  gladijs. 

Atque  ita  te  mentis  generofum  prodige  cenfes, 
Quod  tua  complurtis  allicit  olla  malos. 

En  nouus  Aftaon,  qui  poftquam  cornua  fumpfit 
In  pr<edam  canibus  fe  dedit  ipfe  fuis. 


Aid  at,  155 


276  CLASSIFICATION.  [CHAP.  VI. 

"  Of  thieves  and  robbers  evil-omen'd  bands  the  city  through 

Go  thy  companions  ;  and  a  cohort  girded 'with  dreadful  swords. 

And  so,  O  prodigal,  thou  thinkest  thyself  of  generous  mind, 
Because  thy  cooking  pot  allures  very  many  of  the  bad  ones. 

Lo,  a  new  Actaeon,  who  after  he  assumed  the  horns, 
Himself  gave  himself  a  prey  to  his  own  dogs." 

The  device  is  graphically  drawn  :  Actaeon,  is  in  part  em- 
bruted  ;  he  is  fleeing  with  the  dogs  close  upon  him.  Sup- 
posing Shakespeare  to  have  seen  this  print,  it  represents 
to  the  life  Pistol's  words  in  the  Merry  Wives  of  Windsor 
(act  ii.  sc.  I,  1.  1 06,  vol.  i.  p.  186),— 

"  Prevent,  or  go  thou, 
Like  Sir  Actaeon  he,  with  Ringwood  at  thyjieels." 

"Ex  DOMINO  SERVUS," — The  slave  out  of  the  master, — is 
another  saying  which  the  tale  of  Actaeon  has  illustrated. 
The  application  is  from  Aneau's  "PlCTA  POESIS,"  fol.  41. 
On  the  left  hand  of  the  tiny  drawing  are  Diana  and  her 
nymphs,  busied  in  the  bath,  beneath  the  shelter  of  an 
overhanging  cliff, — on  the  right  is  Actaeon,  motionless,  with 
a  stag's  head  ;  dogs  are  around  him.  The  verses  translated 
read  thus, — 

"  Horns  being  bestowed  upon  Actaeon  when  changed  to  a  stag, 

Member  by  member  his  own  dogs  tore  him  to  pieces. 
Alas  !  wretched  the  Master  who  feeds  wasteful  parasites  ; 

A  ready  prepared  prey  he  is  for  his  fawning  dogs  ! 
It  suggests,  he  is  mocked  by  them  and  devoured, 
And  out  of  a  master  is  made  a  slave,  bearing  horns." 

But  Sambucus  in  his  Emblems  (edition  1564,  p.  128),  and 
Whitney  after  him  (p.  15) — making  use  of  the  same  woodcut, 
only  with  a  different  border — adapt  the  Actaeon-tragedy  to 
another  subject  and  moral,  and  take  the  words,  Pleasure 
purchased  by  anguish. 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS. 
Voluptas  serumnofa. 


277 


Sambitciis,  1564. 

QVJ  niml  s  exercet  venatus,  ac  fine  fine 

Haunt  opes  patrias,  prodigit  inque  canes  : 
Tantus  amor  <vani,  tantus  furor  vfque  recurfat, 

Induat  <vt  celeris  cornua  bina  ferae. 
Accidit  Afteeon  tibi,  qui  cornutus  ab  ortu, 

A*  canibus  propriis  dilaceratus  eras. 
Quam  multos  hodie,  quos  pafcit  odcra  canum  vis. 

Venandi  ftudium  conficit,  atque  <vorat. 
Sena  ne  ludis  poftponas,  commoda  damnis, 

Quod  fuper eft  rerumfic  <vt  egenus  habe. 
Sape  etlam  propria  qui  inter dum  vxore  relifla 

Deperit  externas  corniger  ijia  luit. 

Stanzas  which  may  thus  be  rendered,— 

"  Whoever  too  eagerly  hunting  pursues,  and  without  moderation 

Drains  paternal  treasures  and  lavishes  them  on  dogs  : 
So  great  the  love  of  the  folly,  so  strong  does  the  passion  return 

That  it  clothes  him  in  the  twin  horns  of  the  swift  stag. 
It  happen'd,  Actaeon,  to  thee,  who  though  horned  from  thy  birth, 

By  thy  own  dogs  into  pieces  wast  torn. 
At  this  day  how  many,  whom  the  dogs'  quick  scent  delights, 

The  strong  passion  for  hunting  wastes  and  devours. 
Put  not  off  serious  things  for  sports, — advantages  for  losses  : 

As  one  in  need  so  hold  fast  whatever  things  remain  : 
Often  even  the  horn  bearer,  his  own  wife  forsaken, 

Loves  desperately  strangers,  and  pays  penalties  for  crimes." 


278  CLASSIFICATION.  [CHAP.  VI. 

We  here  see  that  Sambucus  has  adopted  the  theory  of 
the  old  grammarian  or  historian  of  Alexandria,  Palaephatus, 
who  informs  us,  — 

"  Actaeon  by  race  was  an  Arcadian,  very  fond  of  dogs.  Many  of  them  he 
kept,  and  hunted  in  the  mountains.  But  he  neglected  his  own  affairs,  for 
men  then  were  all  self-workers  ;  they  had  no  servants,  but  themselves  tilled 
the  earth  ;  and  that  man  was  the  richest,  who  tilled  the  earth  and  was  the 
most  diligent  workman.  But  Actaeon  being  careless  of  domestic  affairs, 
and  rather  going  about  hunting  with  his  dogs,  his  substance  was  wasted. 
And  when  he  had  nothing  left,  people  kept  saying  :  the  wretched  Actaeon 
was  eaten  up  by  his  own  dogs." 

A  very  instructive  tale  this  for  some  of  our  Nimrods,  mighty 
hunters  and  racers  in  the  land  ;  but  it  is  not  to  be  pressed  too 
strictly  into  the  service  of  the  parsimonious. 

From  the  same  motto  Whitney  (p.  15)  keeps  much  closer  to 
the  mythological  narrative,*— 


"   A  CT^ON  heare,  vnhappie  man  behoulde,     ' 
**  When  in  the  well,  hee  sawe  Diana  brighte, 
With  greedie  lookes,  hee  waxed  ouer  boulde, 
That  to  a  stagge  hee  was  transformed  righte, 
Whereat  amasde,  hee  ^thought  to  runne  awaie, 
But  straighte  his  howrides  did  rente  hym,  for  their  praie. 

By  which  is  ment,  That  those  whoe  do  pursue 

Theire  fancies  fonde,  and  thinges  vnlawfull  crane, 

Like  brutishe  beastes  appeare  vnto  the  viewe, 

And  shall  at  lengthe,  Actaeons  guerdon  haue  : 
And  as  his  houndes,  soe  theire  affections  base, 
Shall  them  deuowre,  and  all  their  deedes  deface." 

Very    beautifully,    in     Twelfth    Night    (act   i.    sc.    i,    1.    9, 
vol.    iii.    p.    223),    is   this    idea    applied    by    Orsino,    duke   of 

Illyria,  — 

"  O  spirit  of  love,  how  quick  and  fresh  art  thou  ! 


*  See  Ovid's  Metamorphoses,  bk.  iii.  fab.   2  ;    or  the  Plantinian  Devices  to  Ovid, 
edition  1591,  pp.  85,  87. 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS.  279 

That,  notwithstanding  thy  capacity 
Receiveth  as  the  sea,  nought  enters  there, 
Of  what  validity  and  pitch  soe'er, 
But  falls  into  abatement  and  low  price, 
Even  in  a  minute  !  so  full  of  shapes  is  fancy 
That  it  alone  is  high  fantastical. 

C^tr.  Will  you  go  hunt,  my  lord  ? 

Duke.  What,  Curio  ? 

Cur.  The  hart. 

Duke.  Why,  so  I  do,  the  noblest  that  I  have  : 
O,  when  mine  eyes  did  see  Olivia  first, 
Methought  she  purged  the  air  of  pestilence  ! 
That  instajit  was  I  turn'd  into  a  hart ; 
And  my  desires,  like  fell  and  cruel  hounds, 
E'er  since  pursue  me." 

The  full  force  and  meaning  of  the  mythological  tale  is, 
however,  brought  out  in  the  Titus  Andronicus  (act  ii.  sc.  3, 
1.  55,  vol.  vi.  p.  459),  that  fearful  history  of  passion  and 
revenge.  Tamora  is  in  the  forest,  and  Bassianus  and  Lavinia 
make  their  appearance,—  N 

"  Bass.  Who  have  we  here  ?     Rome's  royal  empress, 
Unfurnish'd  of  her  well-beseeming  troop  ? 
Or  is  it  Dian,  habited  like  her, 
Who  hath  abandoned  her  holy  groves, 
To  see  the  general  hunting  in  this  forest  ? 

Tarn.  Saucy  controller  of  my  private  steps  ! 
Had  I  the  power  that  some  say  Dian  had, 
Thy  temples  should  be  planted  presently 
With  horns,  as  was  Actaeon's,  and  the  hounds 
Should  drive  upon  thy  new-transformed  limbs, 
Unmannerly  intruder  as  thou  art  !  " 

Arion  rescued  by  the  Dolphin  is  another  mythic  tale  in  which 
poets  may  well  delight.  Alciatus  (Emblem  89,  edition  1581), 
directs  the  moral,  "  against  the  avaricious,  or  those  to  whom  a 
better  condition  is  offered  by  strangers"  Contrary  to  the  French 
writers  of  time  and  place,  the  emblem  presents  in  the  same 


280 


CLASSIFICA  TION. 


[CHAP.  VI. 


device  the  harpist  both  cast  out  of  the  ship  and  riding  triumph- 
antly to  the  shore. 


In  auaros,  vel  quibus  melior  conditio  ab 
extraneis  offertur. 

EMBLEMA    LXXXIX. 


DELPHINI  injldens  vada  cterula  fulcat  Arion  ^ 

Hoctfe  aures  mulcet,frenat  &  orafono. 
Quamjit  auarl  hominis>  non  tarn  mens  dlraferaru  eji  : 

t^uicfe  <viris  raplmur,  pifcibus  eripimur. 

i.e.     "On  the  dolphin  sitting  Arion  ploughs  cerulean  seas, 

With  a  sound  he  soothes  the  ears,  with  a  sound  curbs  the  mouth. 
Of  wild  creatures  not  so  dreadful  is  the  mind,  as  of  greedy  man  ; 
We  who  by  men  are  pillaged,  are  by  fishes  rescued." 

With   this   thought    before   him    Whitney   (p.    144)    at    the 
head  of  his   stanzas  has   placed  the  strong  expression,  "  Man 
is  a  wolf  to   man."*     Cave  canem, — "  Beware   of  the   dog,"- 
is    certainly    a    far    more    kindly    warning  ;    but    the    motto, 


*  In  the  beautiful  Silverdale,  on  Morecambe  Bay,  at  Lindow  Tower,  there  is  the 
same  hospitable  assurance  over  the  doorway,  "Homo  homini  lupus." 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  281 

Homo   hoinini   lupus,  tallies  exactly  with   the   conduct   of  the 
mariners. 

"  T\I  °  morta^  f°e  so  frdi  °f  poysoned  spite, 
•*•  ^    As  man,  to  man,  when  mischiefe  he  pretendes  : 
The  monsters  huge,  as  diuers  aucthors  write, 
Yea  Lions  wilde,  and  fishes  weare  his  frendes  : 

And  when  their  deathe,  by  frendes  supposed  was  sought, 
They  kindnesse  shew'd,  and  them  from  daunger  brought. 

ARION  lo,  who  gained  store  of  goulde, 
In  countries  farre  :  with  harpe,  and  pleasant  voice  : 
Did  shipping  take,  and  to  CORINTHVS  woulde, 
And  to  his  wishe,  of  pilottes  made  his  choise  : 

Who  rob'd  the  man,  and  threwe  him  to  the  sea, 

A  Dolphin,  lo,  did  beare  him  safe  awaie." 

A  comment  from  St.  Chrysostom,  super  Matth.  xxii.,  is 
added, — 

"  As  a  king  is  honoured  in  his  image,  so  God  is  loved  and  hated  in 
man.  He  cannot  hate  man,  who  loves  God,  nor  can  he,  who  hates  God, 
love  men." 

Reference  is  also  made  to  Aulus  Gellius  (bk.  v.  c.  14,  vol.  i. 
p.  408),  where  the  delightful  story  is  narrated  of  the  slave 
Androclus  and  the  huge  lion  whose  wounded  foot  he  had  cured, 
and  with  whom  he  lived  familiarly  for  three  years  in  the  same 
cave  and  on  the  same  food.  After  a  time  the  slave  was  taken 
and  condemned  to  furnish  sport  in  the  circus  to  the  degraded 
Romans.  That  same  lion  also  had  been  taken,  a  beast  of  vast 
size,  and  power  and  fierceness.  The  two  were  confronted  in 
the  arena. 

"  When  the  lion  saw  the  man  at  a  distance,"  says  the  narrator,  "suddenly, 
as  if  wondering,  he  stood  still ;  and  then  gently  and  placidly  as  if  recognising 
drew  near.  With  the  manner  and  observance  of  fawning  dogs,  softly  and 
blandly  he  wagged  his  tail  and  placed  himself  close  to  the  man's  body,  and 
lightly  with  his  tongue  licked  the  legs  and  hands  of  the  slave  almost 
lifeless  from  fear.  The  man  Androclus  during  these  blandishments  of  the 

o  o 


282  CLASSIFICATION.  [CHAP.  VI. 

fierce  wild  creature  recovered  his  lost  spirits  ;  by  degrees  he  directed  his 
eyes  to  behold  the  lion.  Then,  as  if  mutual  recognition  had  been  made,  man 
and  lion  appeared  glad  and  rejoicing  one  with  the  other." 

Was  it  now,  from  having  this  tale  in  mind  that,  in  the 
Troilus  and  Cressida  (act  v.  sc.  3,  1.  37,  vol.  vi.  p.  247),  these 
words  were  spoken  to  Hector  ? — 

"  Brother,  you  have  a  vice  of  mercy  in  you, 
Which  better  fits  a  lion  than  a  man." 

Arion  sauue  par  vn  Dauphin,  is  also  the  subject  of  a  well 
executed  device  in  the  "  MIKPOKO2MO2 "  (edition  Antwerp, 
1592),*  of  which  we  give  the  French  version  (p.  64), — 

"  Arion  retournant  par  mer  en  sa  patrie 
Charge*  de  quelque  arget,  vid  que  les  mariniers 
Anime'z  contre  luy  d'une  auare  furie 
Pretendoyent  luy  oster  sa  vie  &  ses  deniers. 

Pour  eschapper  leurs  mains  &  changer  leur  courage,     . 
Sur  la  harpe  il  chanta  vn  chant  melodieux 
Mais  il  ne  peut  fleschir  la  nature  sauuage 
De  ces  cruels  larrons  &  meurtriers  furieux. 

Estant  par  eux  iette'  deans  la  mere  profonde, 
Vn  Dauphin  attire'  au  son  de  1'instrument, 
Le  chargea  sur  son  dos,  &  au  trauers  de  1'onde 
Le  portant,  le  sauua  miraculeusement. 

Maintes  fois  1'innocent  a  qui  on  fait  offense 
Trouue  plus  de  faueur  es  bestes  qu'es  humains  : ' 
Dieu  qui  aime  les  bons  les  prend  en  sa  defense, 
Les  gardant  de  Teffort  des  homines  inhumains." 

To  the  Emblems  we  have  under  consideration  we  meet  with 
this  coincidence  in  Twelfth  Night  (act  i.  sc.  2,  1.  10,  vol.  iii. 
p.  225) ;  it  is  the  Captain's  assurance  to  Viola,— 


*  The  device  by  Gerard  de  Jode,  in  the  edition  of  1579,  is  a  very  fine  representa- 
tion of  the  scene  here  described. 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS.  283 

"  When  you  and  those  poor  number  saved  with  you 
Hung  on  our  driving  boat,  I  saw  your  brother, 
Most  provident  in  peril,  bind  himself, 
Courage  and  hope  both  teaching  him  the  practice, 
To  a  strong  mast  that  lived  upon  the  sea  ; 
Where,  like  Arion  on  the  dolphin's  back, 
I  saw  him  hold  acquaintance  with  the  waves 
So  long  as  I  could  see." 

As  examples  of  a  sentiment  directly  opposite,  we  will  briefly 
refer  to  Coustau's  Pegma  (p.  323,  edition  Lyons,  1555),  where 
to  the  device  of  a  Camel  and  his  driver,  the  noble  motto  is 
recorded  and  exemplified  from  Plutarch,  Homo  homini  Deus, — 
"  Man  is  a  God  to  man  ;  "  the  reason  being  assigned, — 

"  As  the  world  was  created  for  sake  of  gods  and  men,  so  man  was  created 
for  man's  sake;"  and,  "that  the  grace  we  receive  from  the  immortal  God  is 
to  be  bestowed  on  man  by  man." 

Reusner,  too,  in  his  Emblemata  (p.  142,  Francfort,  1581), 
though  commenting  on  the  contrary  saying,  Homo  homini  lupus, 

declares, — 

^ 
"  Aut  homini  Deus  est  homo  j  si  bonus :  aut  lupus  hercle, 

Si  mains  :  6  quantum  est  esse  hominem,  atq.  Deum" 

i.e.  "  Or  man  to  man  is  God  ;  if  good  :  or  a  wolf  in  truth, 

If  bad  :  O  how  great  it  is  to  be  man  and  God  !  "* 

Was  it  in  reference  to  these  sentiments  that  Hamlet  and 
Cerimon  speak  ?  The  one  says  (Hamlet,  act  iv.  sc.  4, 
1.  33,  vol.  viii.  p.  127),— 

*  May  we  not  in  one  instance  illustrate  the  thought  from  a  poet   of  the  last 

century  ? — 

"  Who,  who  would  live,  my  Nana,  just  to  breathe 
This  idle  air,  and  indolently  run, 
Day  after  day,  the  still  returning  round 
Of  life's  mean  offices,  and  sickly  joys  ? 
But  in  the  service  of  mankind  to  be 
A  guardian  god  below  ;  still  to  employ 
The  mind's  brave  ardour  in  heroic  aims, 
Such  as  may  raise  us  o'er  the  grovelling  herd, 
And  make  us  shine  for  ever — that  is  life." — Thomson 


284  CLASSIFICATION.  [CHAP.  VI. 

"  What  is  a  man, 

If  his  chief  good  and  market  of  his  time 
Be  but  to  sleep  and  feed  ?  a  beast,  no  more. 
Sure,  he  that  made  us  with  such  large  discourse, 
Looking  before  and  after,  gave  us  not 
That  capability  and  god-like  reason 
To  fust  in  us  unused." 

And  again  (act  ii.  sc.  2,  1.  295,  vol.  viii.  p.  63), — 

"  What  a  piece  of  work  is  a  man  !  how  noble  in  reason  !  how  infinite  in 
faculty  !  in  form  and  moving  how  express  and  admirable  !  in  action  how 
like  an  angel !  in  apprehension  how  like  a  god  !  " 

So  in  the  Pericles  (act  iii.  sc.  2,  1.  26,  vol.  ix.  p.  366),  the  fine 
thought  is  uttered, — 

"  I  hold  it  ever, 

Virtue  and  cunning  were  endowments  greater 
Than  nobleness  and  riches  :  careless  heirs 
May  the  two  latter  darken  and  expend, 
But  immortality  attends  the  former, 
Making  a  man  a  god." 

The  horses  and  chariot  of  Phoebus,  and  the  presumptuous 
charioteer  Phaeton,  who  attempted  to  drive  them,  are  celebrated 
with  great  splendour  of  description  in  Ovid's  Metamorphoses 
(bk.  ii.  fab.  i),  that  rich  storehouse  of  Mythology.  The  palace 
of  the  god  has  lofty  columns  bright  with  glittering  gold  ;  the 
roof  is  covered  with  pure  shining  ivory  ;  and  the  double  gates 
are  of  silver.  Here  Phoebus  was  throned,  and  clothed  in 
purple  ; — the  days  and  months  and  years, — the  seasons  and  the 
ages  were  seated  around  him  ;  Phaeton  appears,  claims  to  be 
his  son,  and  demands  for  one  day  to  guide  the  glorious  steeds. 
At  this  point  we  take  up  the  narrative  which  Alciat  has  written 
(Emb.  56),  and  inscribed,  "  To  the  rash."* 

*  For  other  pictorial  illustrations  of  Phaeton's  charioteership  and  fall,  see  Plantin's 
6W</(pp.  46—49),  and  De  Passe  (16  and  17);  also  Symeoni's  Vita,  &>c.,  d' Ovidio 
(edition  1559,  pp.  32—34). 


SECT.  III. 


MYTHOLOGICAL    CHARACTERS. 


285 


In  temerarios 


Afptcts  aungam  currus  Phaetonta  paterni 

Igniuo  mos  aufum  fleElere  Salts  equos. 
Maxima  qui  poftquam  terris  incendiafparjit : 

Eft  temere  infejjo  lapfus  ab  axe  mifer. 
Sic  plerique  rotls  Fortune  adfydera  Reges 

EueEii :  ambitio  quos  iuuenilis  agit. 
Poft  magnam  humani  generis  clademque,fuamtfc, 

Cunttorum  pcenas  denique  dant  fcelerum. 


Alciat,  1551. 

( 

"  You  behold  Phaeton  the  driver  of  his  father's  chariot, — 

Who  dared  to  guide  the  fire  breathing  horses  of  the  sun. 
After  over  the  lands  mightiest  burnings  he  scattered, 
Wretched  he  fell  from  the  chariot  where  rashly  he  sat. 


286  CLASSIFICATION.  [CHAP.  VI. 

So  many  kings,  whom  youthful  ambition  excites, 
On  the  wheels  of  Fortune  are  borne  to  the  stars. 

After  great  slaughter  of  the  human  race  and  their  own, 
For  all  their  crimes  at  last  the  penalties  they  pay." 

Shakespeare's  notices  of  the  attempted  feat  and  its  failure 
are  frequent.  First,  in  the  Two  Gentlemen  of  Verona  (act  iii. 
sc.  i,  1.  153,  vol.  i.  p.  121),  the  Duke  of  Milan  discovers  the 
letter  addressed  to  his  daughter  Silvia,  with  the  promise, — 

"  Silvia,  this  night  will  I  enfranchise  thee,"— 
and  with  true  classic  force  denounces  the  folly  of  the  attempt, — 

"  Why,  Phaethon, — for  thou  art  Merops'  son, — 
Wilt  thou  aspire  to  guide  the  heavenly  car, 
And  with  thy  daring  folly  burn  the  world  ? 
Wilt  thou  reach  stars  because  they  shine  on  thee  ?  " 

In  her  impatience  for  the  meeting  with  Romeo  ( Romeo  and 

Juliet,  act  iii.  sc.  2,  1.  i,  vol.  vii.  p.  72),  Juliet  exclaims, — 

^f 

"  Gallop  apace,  you  fiery-footed  steeds, 
Towards  Phoebus'  lodging  :  such  a  waggoner 
As  Phaethon  would  whip  you  to  the  west 
And  bring  in  cloudy  night  immediately." 

The  unfortunate  Richard  II.  (act  iii.  sc.  3,  1.  178,  vol.  iv.  p. 
179),  when  desired  by  Northumberland  to  meet  Bolingbrqke  in 
the  courtyard  ("  may't  please  you  to  come  down"),  replies,— 

"  Down,  down,  I  come  ;  like  glistering  Phaeton 
Wanting  the  manage  of  unruly  jades." 

And  he  too,  in  3  Henry  VL  (act  i.  sc.  4,  1.  16,  vol.  v.  p.  244), 
Richard,  Duke  of  York,  whose  son  cried, — 

"  A  crown,  or  else  a  glorious  tomb  ! 
A  sceptre  or  an  earthly  sepulchre  !  "- 

when  urged  by  Northumberland  (1.  30), — 

"  Yield  to  our  mercy,  proud  Plantagenet ; " 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  287 

had  this  answer  given  for  him  by  the  faithful  Clifford, — 

"  Ay,  to  such  mercy,  as  his  ruthless  arm, 
With  downright  payment,  shew'd  unto  my  father. 
Now  Phaethon  hath  tumbled  from  his  car, 
And  made  an  evening  at  the  noontide  prick." 

That  same  Clifford  (act  ii.  sc.  6,  1.  10,  vol.  v.  p.  271),  when  wounded 
and  about  to  die  for  the  Lancastrian  cause,  makes  use  of  the 

allusion, — 

"  And  who  shines  now  but  Henry's  enemy  ? 

0  Phoebus  !  hadst  thou  never  given  consent 
That  Phaethon  should  check  thy  fiery  steeds, 
Thy  burning  car  had  never  scorch'd  the  earth  ! 
And,  Henry,  hadst  thou  sway'd  as  kings  should  do, 
Or  as  thy  father  and  his  father  did, 

Giving  no  ground  unto  the  house  of  York, 
They  never  then  had  sprung  like  summer  flies  ; 

1  and  ten  thousand  in  this  luckless  realm 
Had  left  no  mourning  widows  for  our  death  ; 
And  thou  this  day  hadst  kept  thy  chair  in  peace." 

In  the  early  heroic  age,  when  Minos  reigned  in  Crete  and 
Theseus  at  Athens,  just  as  Mythology  was  ripening  into  history, 
the  most  celebrated  for  mechanical  contrivance  and  for  excel- 
lence in  the  arts  of  sculpture  and  architecture  were  Daedalus 
and  his  sons  Talus  and  Icarus.  To  them  is  attributed  the 
invention  of  the  saw,  the  axe,  the  plumb-line,  the  auger,  the 
gimlet,  and  glue  ;  they  contrived  masts  and  sailyards  for  ships  ; 
and  they  discovered  various  methods  of  giving  to  statues 
expression  and  the  appearance  of  life.  Chiefly,  however,  are 
Daedalus  and  Icarus  now  known  for  fitting  wings  to  the  human 
arms,  and  for  attempting  to  fly  across  the  sea  from  Crete  to  the 
shore  of  Greece.  Daedalus,  hovering  just  above  the  waves, 
accomplished  the  aerial  voyage  in  safety ;  but  Icarus,  too 
ambitiously  soaring  aloft,  had  his  wings  injured  by  the  heat  of 
the  sun,  and  fell  into  the  waters,  which  from  his  death  there  were 
named  th^e  Icarian  sea. 


288 


CLASSIFICA  TION. 


[CHAP.   VI. 


From  the  edition  of  Alciat's  Emblems,  1581,  we  select  a 
drawing  which  represents  the  fall  of  Icarus  ;  it  is  dedicated  "  To 
Astrologers,"  or  fortune  tellers.  The  warning  in  the  last  two 
lines  is  all  we  need  to  translate, — 

"  Let  the  Astrologer  take  heed  what  he  foretells  ;  for  headlong 
The  impostor  will  fall  though  he  fly  the  stars  above." 


In  aftrologos. 
EMBLEMA    cm. 


Alciat,  1581. 

ICARE,  per  fuperos  qui  raptus  &  aerat  donee 
In  mare  prcecipitem  cera  liquata  claret, 

Nunc  te  cera  eadem,  feruensq^  refufcitat  ignis  > 
Exemplo  <vt  doc  e  as  dogmata  cert  a  tuo. 

AJlrologus  caueat  quicquam  praedicere  :  praceps 
Nam  cadet  impojlor  dumfuper  aftra  volat. 

Whitney,  however  (p.  28),  will  supply  the  whole, — 

"  T  T  EARE,  ICARVS  with  mountinge  vp  alofte, 
•*-  •*•    Came  headlonge  downe,  and  fell  into  the  Sea  : 
His  waxed  winges,  the  sonne  did  make  so  softe, 
They  melted  straighte,  and  feathers  fell  awaie  : 
So,  whilste  he  flewe,  and  of  no  dowbte  did  care, 
He  moou'de  his  annes,  but  loe,  the  same  were  bare. 


SECT.  III.]          MYTHOLOGICAL    CHARACTERS, 


289 


Let  suche  beware,  which  paste  theire  reache  doe  mounte, 
Whoe  seeke  the  thinges,  to  mortall  men  deny'de, 
And  searche  the  Heauens,  and  all  the  starres  accoumpte, 
And  tell  therebie,  what  after  shall  betyde  : 

With  blusshinge  nowe,  theire  weakenesse  rightlie  weye, 
Least  as  they  clime,  they  fall  to  theire  decaye." 

We  use  this  opportunity  to  present  two  consecutive  pages  of 
Corrozet's  "HECATOMGRAPHIE"  (Emb.  67),  that  the  nature  of  his 


Qiu  trop  P  exalte  trop  fe  prife, 
Qui  trop  f'abaifTe'  il  fe  defprife, 
Mais  celluy  qui  veult  faire  bien 
II  fe  gouuerne  par  moyen. 


Corrozet,  1540. 


290  CLASSIFICATION.  [CHAP.  VI. 

|O1  Icarus  que  fell  il  aduenu  ? 
Tu  as  trefmal  le  confeil  retenu 
De  Dedalus  ton  pere  qui  t'apprint 
L'art  de  voler,  lequel  il  entreprint 

Pour  efchapper  de  Minos  la  prifon 

Ou  vous  eftiez  enfermez,  pour  raifon 

QuMl  auoit  faift  &  bafty  vne  vache 

D'ung  boys  leger  ou  Pafiphe  fe  cache. 

Ce  Dedalus  nature  furmonta 

A  toy  &  luy  des  aelles  adioufta 

Aux  bras  &  piedz,  tant  que  pouiez  volcM' 

Et  en  volant  il  fe  print  a  parler 

A  toy  difant:  mon  filz  qui  veulx  pretendre 

De  te  fauluer,  vng  cas  tu  doibs  entendre 

Que  fi  tu  veulx  a  bon  port  arriuer 

II  ne  te  fault  vers  le  ciel  efleuer. 

Car  le  Soleil  la  cire  fonderoit, 

Et  par  ainfi  ta  plume  tomberoit, 

Sy  tu  vas  bas  Thumidite  des  eaulx 

Te  priuera  du  pouoir  des  oyfeaulx, 

Mais  fi  tu  vas  ne  hault  ne  bas,  adoncques 

La  voy,e  eft  feure'  &  fans  dangers  quelzconques : 

O  pauure  fot  le  hault  chemin  tu  prins 

Trop  hault  pour  toy  car  mal  il  t'en  eft  prins 

La  cire  fond,  &  ton  plumage  tumbe 

Et  toy  aufli  preft  a  mettre  foubz  tumbe. 

devices,  and  of  their  explanations  may  be  seen.     There  is  a 
motto,—"  To  take  the  middle  way," — and  these  lines  follow— 

"  Who  too  much  exalts  himself  too  much  values  himself, 
Who  too  much  abases  himself,  he  undervalues  himself, 
But  that  man  who  wills  to  do  well, 
He  governs  himself  the  medium  way." 

In  the  page  of  metrical  explanation  subjoined,  the  usual  mythic 
narrative  is  closely  followed. 

The  full  idea  is  carried  out  in  3  Henry  VI.  (act  v.  sc.  6, 
1.  1 8,  vol.  v.  p.  332),  Gloucester  and  King  Henry  being  the 
speakers, — 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  291 

"  Glou.  Why,  what  a  peevish  fool  was  that  of  Crete, 
That  taught  his  son  the  office  of  a  fowl  ! 
And  yet  for  all  his  wings,  the  fool  was  drown'd. 
K.  Hen.    I,  Daedalus  ;  my  poor  boy,  Icarus  ; 
Thy  father,  Minos,  that  denied  our  course  ; 
The  sun  that  sear'd  the  wings  of  my  sweet  boy 
Thy  brother  Edward,  and  thyself  the  sea 
Whose  envious  gulf  did  swallow  up  his  life. 
Ah,  kill  me  with  thy  weapon,  not  with  words  ! 
My  breast  can  better  brook  thy  dagger's  point 
Than  can  my  ears  that  tragic  history." 

In  the  ist  part  also  of  the  same  dramatic  series  (act  iv.  sc.  6, 
1.  46,  vol.  v.  p.  78),  John  Talbot,  the  son,  is  hemmed  about  in 
the  battle  near  Bourdeaux.  Rescued  by  his  father,  he  is  urged 
to  escape,  but  the  young  hero  replies, — 

"  Before  young  Talbot  from  old  Talbot  fly, 
The  coward  horse  that  bears  me  fall  and  die  ! 
And  like  me  to  the  peasant  boys  of  France, 
To  be  shame's  scorn  and  subject  of  mischance  ! 
Surely,  by  all  the  glory  you  have  won, 
An  if  I  fly,  I  am  not  Talbot's  son  : 
Then  talk  no  more  of  flight,  it  is  no  boot ; 
If  son  to  Talbot,  die  at  Talbot's  foot. 

Tal.  Then  follow  thou  thy  desperate  sire  of  Crete, 
Thou  Icarus  ;  thy  life  to  me  is  sweet : 
If  thou  wilt  fight,  fight  by  thy  father's  side  ; 
And,  commendable  proved,  let's  die  in  pride." 

The  tearful  tale  of  Niobe,  who  that  has  read  Ovid's  Meta- 
morphoses (bk.  vi.  fab.  5)  could  not  weep  over  it !  Seven 
stalwart  sons  and  seven  fair  daughters  clustered  round  the 
haughty  dame,  and  she  gloried  in  their  attendance  upon  her  ; 
but  at  an  evil  hour  she  dared  to  match  herself  with  Latona,  and 
at  a  public  festival  in  honour  of  the  goddess  to  be  the  only  one 
refusing  to  offer  incense  and  prayers.  The  goddess  called  her 
own  children  to  avenge  the  affront  and  the  impiety  ;  and  Apollo 
and  Diana,  from  the  clouds,  slew  the  seven  sons  as  they  were 


292 


CLASSIFICA  TION. 


[CHAP.  VI. 


exercising  on  the  plain  near  Thebes.  Yet  the  pride  of  Niobe 
did  not  abate,  and  Diana  in  like  manner  slew  also  the  seven 
daughters.  The  mother's  heart  was  utterly  broken  ;  she  wept 
herself  to  death,  and  was  changed  to  stone.  Yet,  says  the  poet, 
Flet  tamen, — "  Yet  she  weeps,"— 

Liquitur,  et  lacrymas  etiam  nunc  marmora  manant, — 
i.e.  "  It  melts,  and  even  now  the  marble  trickles  down  tears." 

Alciat    adopts  the  tale  as  a  warning ;    Pride  he  names  his 
67th  Emblem. 

Superbia. 
F.  MBLEMA      L  X  V  I  I. 


Alciat,  1581. 


duftum  de  marmore  marmor, 
Se  conferre  Deis  aufa  procax  Niobe. 
Eft  <vitium  muliebre  fuperbiaj  &  arguit  or  is 
Duritiem,  acfenfus,  qualis  ineft  lapidi. 


SECT,  ill.]         MYTHOLOGICAL     CHARACTERS.  293 

As  we  look  at  the  device  we  are  sensible  to  a  singular 
incongruity  between  the  subject  and  the  droll,  Punck-\\ViQ. 
figures,  which  make  up  the  border.  The  sentiment,  too, 
is  as  incongruous,  that  "  Pride  is  a  woman's  vice  and 
argues  hardness  of  look  and  of  feeling  such  as  there  is  in 
stone." 

Making  a  slight  change  in  the  motto,  Whitney  (p.  1 3)  writes, 
Superbice  vltio, — "  Vengeance  upon  pride," — 

"  f~\  F  NIOBE,  behoulde  the  ruthefull  plighte, 
^"-^    Bicause  shee  did  dispise  the  powers  deuine  : 
Her  children  all,  weare  slaine  within  her  sighte, 
And,  while  her  selfe  with  tricklinge  teares  did  pine, 
Shee  was  transform'de,  into  a  marble  stone, 
Which,  yet  with  teares,  dothe  seeme  to  waile,  and  mone. 

This  tragedie,  thoughe  Poetts  first  did  frame, 

Yet  maie  it  bee,  to  euerie  one  applide  : 

That  mortall  men,  shoulde  thinke  from  whence  they  came, 

And  not  presume,  nor  puffe  them  vp  with  pride, 

Leste  that  the  Lorde,  whoe  haughty  hartes  doth  hate, 

Doth  throwe  them  downe,  when  sure  they  thinke  theyr  state." 

Shakespeare's  notices  of  Niobe  are  little  more  than  allusions  ; 
the  mode  in  which  Apollo  and  Diana  executed  the  cruel 
vengeance  may  be  glanced  at  in  All's  Well  (act  v.  sc.  3,  1.  5, 
vol.  iii.  p.  201),  when  the  Countess  of  Rousillon  pleads  for  her 
son  to  the  King  of  France, — 

"  Count.  'Tis  past,  my  liege  ; 

And  I  beseech  your  majesty  to  make  it 
Natural  rebellion,  done  i'  the  blaze  of  youth  ; 
When  oil  and  fire,  too  strong  for  reason's  force, 
O'erbears  it  and  burns  on. 

King.  My  honour'd  lady, 

I  have  forgiven  and  forgotten  all ; 
Though  my  revenges  were  high  bent  upon  him, 
And  watch'd  the  time  to  shoot." 


2  94  CL  A  SSI  PICA  TION.  [CHAP.  VI. 

Troilus  (act  v.  sc.  10,  1.  16,  vol.  vi.  p.  261),  anticipating  Priam's 
and  Hecuba's  mighty  grief  over  the  slain  Hector,  speaks  thus 
of  the  fact,— 

"  Let  him  that  will  a  screech-owl  aye  be  call'd 
Go  into  Troy,  and  say  there,  *  Hector's  dead  : ' 
There  is  a  word  will  Priam  turn  to  stone, 
Make  wells  and  Niobes  of  the  maids  and  wives, 
Cold  statues  of  the  youth,  and  in  a  word, 
Scare  Troy  out  of  itself." 

Hamlet,  too  (act  i.  sc.  2,  1.  147,  vol.  viii.  p.  17),  in  his  bitter 
expressions  respecting  his  mother's  marriage,  speaks  thus 
severely  of  the  brevity  of  her  widowhood,— 

"  A  little  month,  or  ere  those  shoes  were  old 
With  which  she  follow'd  my  poor  father's  body, 
Like  Niobe,  all  tears  : — why  she,  even  she, — 
O  God  !  a  beast  that  wants  discourse  of  reason, 
Would  have  mourn'd  longer  ; — within  a  month  ; 
Ere  yet  the  salt  of  most  unrighteous  tears 
Had  left  the  flushing  in  her  galled  eyes, 
She  married." 

Tiresias,  the  blind  soothsayer  of  Thebes,  had  foretold  that 
the  comely  Narcissus  would  live  as  long  as  he  could  refrain  from 
the  sight  of  his  own  countenance, — 

"  But  he,  ignorant  of  his  destiny,"  says  Claude  Mignault,  "  grew  so 
desperately  in  love  with  his  own  image  seen  in  a  fountain,  that  he  miserably 
wasted  away,  and  was  changed  into  the  flower  of  his  own  name,  which  is 
called  Narce,  and  means  drowsiness  or  infatuation,  because  the  smell  of  the 
Narcissus  affects  the  head." 

However  that  may  be,  Alciatus,  edition  Antwerp,  1581, 
exhibits  the  youth  surveying  his  features  in  a  running  stream  ; 
the  flower  is  behind  him,  and  in  the  distance  is  Tiresias 
pronouncing  his  doom.  "  Self  love  "  is  the  motto. 


SECT.  III.]          MYTHOLOGICAL     CHARACTERS. 


295 


EMBLEMA    LXIX. 


Alciat,  1581. 


QVOD  nimium  tua  forma  tibi  Nardjfe  placebat, 
Inflorem,  Gf  notl  eft  <vtrfa  ftuporis  olus. 

Ingenij  eft  mar  cor  ^  cladestfe  $tAatma,  doftos 
Qua  peffum  plures  daify  .  dedit%  <viros  : 

Qjii  fveterum  abiefta  methodo,  noua  dogmata  qutzrunt, 
ilcjj  fuas  prater  tradere  phantajias. 


Anulus  also,  in  the  "  PlCTA  POESIS "  (p.  48),  mentions  his 
foolish  and  vain  passion, — 

Contemnens  alios,  arsit  amore  sui, — 
i.e.  "  Despising  others,  inflamed  he  was  with  love  of  himself." 

From  Alciat  and  Anulus,  Whitney  takes  up  the  fable 
(p.  149),  his  printer  Rapheleng  using  the  same  wood-block  as 
Plantyn  did  in  1581.  Of  the  three  stanzas  we  subjoin  one, — 


296 


CLASSIFICA  TION. 


[CHAP.  VI. 


"  "XT ARCISSVS  lou'de,  and  liked  so  his  shape, 
^  ^    He  died  at  lengthe  with  gazinge  there  vppon  : 
Which  shewes  selfe  loue,  from  which  there  fewe  can  scape, 
A  plague  too  rife  :  bewitcheth  manie  a  one. 

The  ritche,  the  pore,  the  learned,  and  the  sotte, 

Offende  therein  :  and  yet  they  see  it  not." 

It  is  only  in  one  instance,  Antony  and  Cleopatra  (act  ii. 
sc.  5,  1.  95,  vol.  ix.  p.  48),  and  very  briefly,  that  Shakespeare 
names  Narcissus  ;  he  does  this  when  the  Messenger  repeats  to 
Cleopatra  that  Antony  is  married,  and  she  replies, — 

"  The  Gods  confound  thee  ! 

Go,  get  thee  hence  : 

Hadst  thou  Narcissus  in  thy  face,  to  me 
Thou  wouldst  appear  most  ugly." 

The   most    beautiful  of  the   maidens  of  Thessaly,  Daphne, 

the  daughter  of  the  river- 
god  Peneus,  was  Apol- 
lo's earliest  love.  He 
sought  her  in  marriage, 
and  being  refused  by  her, 
prepared  to  force  con- 
sent. The  maiden  fled, 
and  was  pursued,  and, 
at  the  very  moment  of 
her  need  invoked  her 
father's  aid,  and  was 
transformed  into  a  laurel. 
At  this  instant  the  de- 
vice of  Anulus  represents 
her,  in  the  "  PlCTA  POESIS  " 
(p.  47)-* 


Aneau,  1551. 

Ille  amat,  heec  odit,  fugit  h<ec  :  fettatur  at  ille 

Dumque  fugit :  Laurus  fafta  repenteftetit. 
Sic  amat,  &fruftra,  nee  Apollo potitu s  amore  eft. 

Vltus  Apollinis  eft,  Jic  Amor  opprobrium. 
HAECINE  doElorum  fors  eft  inimica  virorum, 

Vt  iuuenes  quamuis  non  redamentur  ament  ? 
Exofofque  habeat  prudent es  ft ult a  iuuentus 

His  ne  iungatur  ftipes  <vt  ejje  'velit. 


*  Ovid's  Metamorphoses,  by  Crispin  de  Passe  (editions   1602  and  1607,  p.  10), 
presents  the  fable  well  by  a  very  good  device. 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  297 

"  He  loves,  she  hates  ;  she  flees,  but  he  pursues, 

And  while  she  flees,  stopped  suddenly,  to  laurel  changed. 
So  loves  Apollo,  and  in  vain ;  nor  enjoys  his  love. 

So  love  has  avenged  the  reproach  of  Apollo. 
This  very  judgment  of  learned  men  is  it  not  hostile, 

That  youths  should  love  though  not  again  be  loved  ? 
Hated  should  foolish  youth  account  the  wise 

Lest  by  these  the  log  be  not  joined  as  it  wishes  to  be." 

The  Midsummer  Nights  Dream  (act  ii.  sc.  I,  1.  227,  vol.  ii. 
p.  218)  reverses  the  fable;  Demetrius  flees  and  Helena 

pursues, — 

"  Dem.  I'll  run  from  thee  and  hide  me  in  the  brakes, 
And  leave  thee  to  the  mercy  of  wild  beasts. 

Hel.  The  wildest  hath  not  such  a  heart  as  you. 
Run  when  you  will,  the  story  shall  be  changed  : 
Apollo  flies,  and  Daphne  holds  the  chase  : 
The  dove  pursues  the  griffin  ;  the  mild  hind 
Makes  speed  to  catch  the  tiger  ;  bootless  speed, 
When  cowardice  pursues,  and  valour  flies." 

There  is,  too,  the  quotation  already  made  for  another 
purpose  (p.  115)  from  the  Taming  of  the  Shrew  (Introd.  sc.  2, 

1.55)- 

"  Or  Daphne  roaming  through  a  thorny  wood, 
Scratching  her  legs  that  one  shall  swear  she  bleeds, 
And  at  that  sight  shall  sad  Apollo  weep, 
So  workmanly  the  blood  and  tears  are  drawn." 

And  Troilus  (act  i.  sc.  I,  1.  94,  vol.  vi.  p.  130)  makes  the 
invocation, — 

"  Tell  me,  Apollo,  for  thy  Daphne's  love 
What  Cressid  is,  what  Pandar,  and  what  we  ?  " 

Among  Mythological  Characters  we  may  rank  Milo,  "of  force 
unparalleled  ; "  to  whom  with  crafty  words  of  flattery  Ulysses 
likened  Diomed  ;  Troilus  and  Cressida  (act  ii.  sc.  3,  1.  237),— 

"  But  he  that  disciplined  thine  arms  to  fight, 
Let  Mars  divide  eternity  in  twain, 
And  give  him  half  :  and  for  thy  vigour, 

Q  Q 


298  CLASSIFICATION.  [CHAP.  VI. 

Bull-bearing  Milo  his  addition  yield 
To  sinewy  Ajax." 

Milo's  prowess  is  the  subject  of  a  fine  device  by  Gerard  de 
Jode,  in  the  "MIKPOKO2MO2  "  (p.  61),  first  published  in  1579, 
with  Latin  verses.  Respecting  Milo  the  French  verses  say,— 

"  La  force  de  Milon  a  este  nompareille, 
Et  de  ses  grands  efforts  on  raconte  merueille  : 
S'il  se  tenoit  debout,  il  ne  se  trouuoit  pas 
Homme  aucun  qui  le  peust  faire  bouger  d'un  pas. 

A  frapper  il  estoit  si  fort  &  si  adestre 
Que  d'un  seul  coup  de  poing  il  tua  de  sa  dextre 
Vn  robuste  taureau,  &  des  ses  membres  forts 
Vne  lieue  le  porta  sans  se  greuer  le  corps. 

Mais  se  fiant  par  trop  en  ceste  grande  force, 
II  fut  en  fin  saisi  d'une  mortelle  entorce  :' 
Car  il  se  vid  manger  des  bestes,  estant  pris 
A  Farbre  qu'il  auoit  de  desioindre  entrepris. 

Qui  de  sa  force  abuse  en  chase  non  faisable 
Se  rend  par  son  effort  bien  souuent  miserable, 
Le  fol  entrepreneur  tombe  en  confusion 
Et  s'expose  a  chacun  en  grand  derision.-'' 

The  famous  winged  horse,  Pegasus,  heroic,  though  not  a 
hero,  has  a  right  to  close  in  our  array  of  mythic  characters. 
Sprung  from  the  blood  of  Medusa  when  Perseus  cut  off  her 
head,  Pegasus  is  regarded  sometimes  as  the  thundering  steed  of 
Jove,  at  other  times  as  the  war-horse  of  Bellerophon  ;  and  in 
more  modern  times,  under  a  third  aspect,  as  the  horse  of  the 
Muses.  Already  (at  p.  142)  we  have  spoken  of  some  of  the 
merits  attributed  to  him,  and  have  presented  Emblems  in  which 
he  is  introduced.  It  will  be  sufficient  now  to  bring  forward  the 
device  and  stanza  of  Alciat,  in  which  he  shows  us  how  "by 
prudence  and  valour  to  overcome  the  Chimaera,  that  is,  the 
stronger  and  those  using  stratagems." 


SECT.  III.]         MYTHOLOGICAL     CHARACTERS. 

Confilio  &  virtute  Chimaeram  fuperari,  id  eft, 
fortiores  &  deceptores. 

EMBLEMA    xiiii. 


299 


Alciat,  1581. 

BELLEROPHON  vtfortis  eques  fuperare  Chimaram, 

Et  Lyclj  potuit  flernere  monftrafoli  : 
Sic  tu  Pegafeis  vettus  pet  is  <ethera  pennis, 
io<fe  animi  monftra  fuperba  domas. 


i.e.         "  As  the  brave  knight  Bellerophon  could  conquer  Chimaera, 

And  the  monsters  of  the  Lycian  shore  stretch  on  the  ground  : 
So  thou  borne  on  the  wings  of  Pegasus  seekest  the  sky, 
And  by  prudence  dost  subdue  proud  monsters  of  the  soul." 

Shakespeare  recognises  neither  Bellerophon  nor  the  Chimaera, 
but  Pegasus,  the  wonderful  creature,  and  Perseus  its  owner. 

The   dauphin    Lewis    (see   p.   141)  likens   his   own   horse   to 
Pegasus,  "  with  nostrils  of  fire,"- 

"  It  is  a  beast  for  Perseus  :    he  is  pure  air  and  fire  ....  he  is  indeed  a 
horse." 


300  CLASSIFICATION,  [CHAP.  VI. 

In  the  Grecian  camp  (see  Troihts  and  Cressida,  act  i.  sc.  3, 
1.  33,  vol.  vi.  p.  142),  Nestor  is  urging  the  worth  of  dauntless 
valour,  and  uses  the  apt  comparison,— 

"In  the  reproof  of  chance 

Lies  the  true  proof  of  men  :  the  sea  being  smooth, 
How  many  shallow  bauble  boats  dare  sail 
Upon  her  patient  breast,  making  their  way 
With  those  of  nobler  bulk  ! 
But  let  the  ruffian  Boreas  once  enrage 
The  gentle  Thetis,  and  anon  behold 
The  strong-ribb'd  bark  through  liquid  mountains  cut, 
Bounding  between  the  two  moist  elements, 
Like  Perseus'  horse." 

The  last  lines  are  descriptive  of  Alciat's  device,  on  p.  299. 

It  is  the  same  Nestor  (act  iv.  sc.  5,  1.  183),  who  so  freely  and 
generously  compliments  Hector,  though  his  enemy, — 

"  I  have,  thou  gallant  Trojan,  seen  thee  oft, 
Labouring  for  destiny,  make  cruel  way 
Through  ranks  of  Greekish  youth  ;  and  I  have  seen  thee,% 
As  hot  as  Perseus,  spur  thy  Phrygian  steed, 
Despising  many  forfeits  and  subduements, 
When  thou  hast  hung  thy  advanced  sword  i'  the  air, 
Nor  letting  it  decline  on  the  declined, 
That  I  have  said  to  some  my  standers  by, 
'  Lo,  Jupiter  is  yonder,  dealing  life  !  ' ': 

Young  Harry's  praise,  too,  in  I  Henry  IV.,  act  iv.  sc.  I,  1.  109, 
vol.  iv.  p.  318,  is  thus  celebrated  by  Vernon,— 

"  As  if  an  angel  dropp'd  down  from  the  clouds 
To  turn  and  wind  a  fiery  Pegasus, 
And  witch  the  world  with  noble  horsemanship." 

For  nearly  all  the  personages  and  the  tales  contained  in  this 
section,  authority  may  be  found  in  Ovid,  and  in  the  various 
pictorially  illustrated  editions  of  the  Metamorphoses  or  of  portions 
of  them,  which  were  numerous  during  the  actively  literary  life 


SECT.  III.]         MYTHOLOGICAL    CHARACTERS.  301 

of  Shakespeare.  It  is,  I  confess,  very  questionable,  whether  for 
his  classically  mythic  tales  he  was  indeed  indebted  to  the  Em- 
blematists ;  yet  the  many  parallels  in  mythology  between  him 
and  them  justify  the  pleasant  labour  of  setting  both  side  by 
side,  and,  by  this  means,  of  facilitating  to  the  reader  the  forming 
for  himself  an  independent  judgment. 


David,  ed.  1601. 


302  CLASSIFICATION.  [CHAP.  VI. 


SECTION    IV. 

EMBLEMS   ILLUSTRATIVE    OF  FABLES. 

IMILITUDES  and,  in  cases  not  a  few,  identities 
have  often  been  detected  between  the  popular 
tales  of  widely  distant  nations,  intimating  either 
a  common  origin,  or  a  common  inventive  power 
to  work  out  like  results.  Fables  have  ever  been  a  floating 
literature, — borne  hither  and  thither  on  the  current  of  Time, — 
used  by  any  one,  and  properly  belonging  to  no  one.  How 
they  have  circulated  from  land  to  land,  and  from  age  to  age, 
we  cannot  tell ;  whence  they  first  arose  it  is  impossible  to 
divine.  There  exist,  we  are  told,  fables  collected  by  Bidpai  in 
Sanscrit,  by  Lokman  in  Arabic,  by  JEsop  in  Greek,  and  by 
Phaedrus  in  Latin  ;  and  they  seem  to  have  been  interchanged 
and  borrowed  one  from  the  >  other  as  if  they  were  the  property 
of  the  world, — handed  down  from  the  ancestorial  times  of  a 
remote  antiquity. 

Shakespeare's  general  estimation  of  fables,  and  of  those  of 
JEsop  in  particular,  may  be  gathered  from  certain  expressions  in 
two  of  the  plays, — in  the  Midsummer  Night's  Dream  (actv.  sc.  I, 
1.  I,  vol.  ii.  p.  258)  and  in  3  Henry  VI.  (actv.  sc.  5,  1.  25,  vol.  v.  p. 
329).  In  the  former  the  speakers  are  Hippolyta  and  Theseus, — 

"  Hip.  Tis  strange,  my  Theseus,  that  these  lovers  speak  of. 

The.  More  strange  than  true  :  I  never  may  believe 
These  antique  fables,  nor  these  fairy  toys. 
Lovers  and  madmen  have  such  seething  brains 


SECT.  IV.]  EMBLEMS    IN  FABLES.  303 

Such  shaping  fantasies,  that  apprehend 
More  than  cool  reason  ever  comprehends." 

In  the  latter  Queen   Margaret's  son   in   reproof  of  Gloucester, 
declares, — 

"  Let  yEsop  fable  in  a  winter's  night ; 
His  currish  riddles  sort  not  with  this  place." 

The  year  of  Shakespeare's  birth,  1564,  saw  the  publication, 
at  Rome,  of  the  Latin  Fables  of  Gabriel  Faerni ;  they  had  been 
written  at  the  request  of  Pope  Pius  IV.,  and  possess  a  high 
degree  of  excellence,  both  for  their  correct  Latinity  and  for  the 
power  of  invention  which  they  display.  Roscoe,  in  his  Life  of 
Leo  X.  (Bohn's  ed.  ii.  p.  172),  even  avers  that  they  "  are  written 
with  such  classical  purity,  as  to  have  given  rise  to  an  opinion 
that  he  had  discovered  and  fraudulently  availed  himself  of  some 
of  the  unpublished  works  of  Phaedrus."  This  opinion,  however, 
is  without  any  foundation. 

The  Dialogues  of  Creatures  moralised  preceded,  however,  the 
Fables  of  Faerni  by  above  eighty  years.  "  In  the  Latin  and 
Dutch  only  there  were  not  less  than  fifteen  known  editions 
before  1511."*  An  edition  in  Dutch  is  named  as  early  as  1480, 
and  one  in  French  in  1482  ;  and  the  English  version  appeared, 
it  is  likely,  at  nearly  as  early  a  date.  These  and  other  books  of 
fables,  though  by  a  contested  claim,  are  often  regafded  as  books 
of  Emblems.  The  best  Emblem  writers,  even  the  purest, 
introduce  fables  and  little  tales  of  various  kinds  ;  as  Alciat, 
Emb.  7,  The  Image  of  Isis,  the  Ass  and  the  Driver;  Emb.  15, 
The  Cock,  the  Lion,  and  the  Church  ;  Emb.  59,  The  Blacka- 
moor washed  White,  &c. :  Hadrian  Junius,  Emb.  4,  The  caged 
Cat  and  the  Rats ;  Emb.  19,  The  Crocodile  and  her  Eggs : 
Perriere,  Emb.  101,  Diligence,  Idleness,  and  the  Ants.  They  all, 
in  fact,  adopted  without  scruple  the  illustrations  which  suited 

*  See  the  reprint  of  ftfje  UtalogeS  of  (Creatures  fftoralgsetl,  by  Joseph  Haslewood, 
4to,  London,  1816  (Introd.,  pp.  viij  and  ix). 


3o4  CLASSIFICATION.  [CHAP.  VI. 

their  particular  purpose  ;    and   Whitney,    in   one   part   of    his 
Emblemes,  uses  twelve  of  Faerni's  fables  in  succession. 

Of  the  fables  to  which  Shakespeare  alludes  some  have  been 
quoted  in  the  former  part  of  this  work  ; — as  The  Fly  and  the 
Candle ;  The  Sun,  the  Wind,  and  the  Traveller ;  The  Elephant 
and  the  undermined  Tree  ;  The  Countryman  and  the  Serpent. 
Of  others  we  now  proceed  to  give  examples. 

The  Hares  biting  the  dead  Lion  had,  perhaps,  one  of  its 
earliest  applications,  if  not  its  origin,  in  the  conduct  of  Achilles 
and  his  coward  Greeks  to  the  dead  body  of  Hector,  which 
Homer  thus  records  (Iliad,  xxii.  37), — 

"  The  other  sons  of  the  Greeks  crowded  around  ; 
And  admired  Hector's  stature  and  splendid  form  ; 
Nor  was  there  one  standing  by  who  did  not  inflict  a  wound." 

Claude  Mignault,  in  his  notes  to  Alciatus  (Emb.  153),  quotes 
an  epigram,  from  an  unknown  Greek  author,  which  Hector  is 
supposed  to  have  uttered  as  he  was  dragged  by  the  Grecian 

chariot, — 

"  Now  after  my  death  ye  pierce  my  body  ; 
The  very  hares  are  bold  to  insult  a  dead  lion." 

The  Troilus  and'  Cressida  (act  v.  sc.  8,  1.  21,  vol.  vi.  p.  259) 
exhibits  the  big,  brutal  Achilles  exulting  over  his  slain  enemy, 
and  giving  the  infamous  order, — 

"  Come,  tie  his  body  to  my  horse's  tail  ; 
Along  the  field  I  will  the  Trojan  trail." 

And  afterwards  (act  v.  sc.  10,  1.  4,  vol.  vi.  p.  260)  the  atrocities 
are  recounted  to  which  Hector's  body  was  exposed, — 

"  He's  dead,  and  at  the  murderer's  horse's  tail 
In  beastly  sort  dragg'd  through  the  shameful  field." 

The  description  thus  given  accords  with  that  of  Alciatus, 
Reusner,  and  Whitney,  in  reference  to  the  saying,  "  We  must 


SECT.  IV.] 


EMBLEMS    IN  FABLES. 


305 


not    struggle   with    phantoms."      Alciat's   stanzas   (Emb.    153) 
are,— 

Cum  laruis  non  luctandum. 


moriens  percussu  cuspidis  Hector 
Qui  toties  hostels  vicerat  ante  suos; 

Comprimere  haud  potuit  vocem,  insultantibus  Hits, 
Dum  curru  &>  pedibus  nectere  vincla  parant. 

Distrahite  vt  libitum  est  :  sic  cassi  luce  leonis 
Conuellunt  barbam  vel  timidi  lepores. 

Thus  rendered  by  Whitney  (p.  127),  with  the  same  device, 

Cum  laruis  non  luftandum. 


Whitney,  1586. 

A  \  ^HEN  Hectors  force,  throughe  mortall  wounde  did  faile, 
*  *     And  life  beganne,  to  dreadefull  deathe  to  yeelde  : 
The  Greekes  moste  gladde,  his  dyinge  corpes  assaile, 
Who  late  did  flee  before  him  in  the  fielde  : 

Which  when  he  sawe,  quothe  hee  nowe  worke  your  spite, 
For  so,  the  hares  the  Lion  dead  doe  byte. 

Looke  here  vpon,  you  that  doe  wounde  the  dead, 
With  slaunders  vile,  and  speeches  of  defame  : 
Or  bookes  procure,  and  libelles  to  be  spread, 
When  they  bee  gone,  for  to  deface  theire  name  : 
Who  while  they  liu'de,  did  feare  you  with  theire  lookes, 
And  for  theire  skill,  you  might  not  beare  their  bookes." 


306  CLASSIFICATION.  [CHAP.  VI. 

Reusner's  lines,  which  have  considerable  beauty,  may  thus  be 
rendered, — 

"  Since  man  is  mortal,  the  dead  it  becomes  us 

Neither  by  word  nor  reproachful  writing  to  mock  at. 
Theseus,  mindful  of  mortal  destiny,  the  bones  of  his  friends 

Both  laves,  and  stores  up  in  the  tomb,  and  covers  with  earth. 
'Tis  the  mark  of  a  weak  mind,  to  wage  war  with  phantoms, 

And  after  death  to  good  men  insult  to  offer. 
So  when  overcome  by  the  strength  of  Achilles 

The  scullions  of  the  camp  struck  Hector  with  darts. 
So  whelps  bite  the  lion  laid  prostrate  by  death  ; 

So  his  weapon  any  one  bloods  in  the  boar  that  is  slain. 

Better  'tis,  ye  gods,  well  to  speak,  of  those  deserving  well ; 

And  wickedness  great  indeed,  to  violate  sacred  tombs." 

The  device  itself,  in  these  three  authors,  is  a  representation 
of  Hares  biting  a  dead  Lion  ;  and  in  this  we  find  an  origin  for 
the  words  used  in  King  John  (act  ii.  sc.  I,  1.  134,  vol.  iv.  p.  17), 
to  reprove  the  Archduke  of  Austria.  Austria  demands  of  Philip 
Faulconbridge,  "What  the  devil  art  thou  ?"  and  Philip  replies,— 

"  One  that  will  play  the  devil,  sir,  with  you, 
An  a'  may  catch  your  hide  and  you  alone  : 
You  are  the  hare  of  whom  the  proverb  goes, 
Whose  valour  plucks  dead  lions  by  the  beard." 

Immediately  references  follow  to  other  fables,  or  to  their 
pictorial  representations, — 

"  I'll  smoke  your  skin-coat,  an  I  catch  you  right :" 

in  allusion  to  the  fable  of  the  fox  or  the  ass  hunting  in  a  lion's 
skin.  Again  (1.  141), — 

"  Blanch.  O,  well  did  he  become  that  lion's  robe 

That  did  disrobe  the  lion  of  that  robe. 
Bast.  It  lies  as  sightly  on  the  back  of  him 
As  great  Alcides'  shows  upon  an  ass  :  " 

a  sentiment  evidently  suggested  to  the  poet's  mind  by  some 
device  or  emblem  in  which  the  incongruity  had  found  a  place. 
Farther  research  might  clear  up  this  and  other  unexplained 


SECT.  IV.]  EMBLEMS    IN   FABLES.  307 

allusions  in  Shakespeare  to  fables  or  proverbs  ;  but  there  is  no 
necessity  for  attempting  this  in  every  instance  that  occurs, 

"  Friendship  enduring  even  after  death,"  might  receive  a 
variety  of  illustrations.  The  conjugal  relation  of  life  frequently 
exemplifies  its  truth  ;  and  occasionally  there  are  friends  who 
show  still  more  strongly  how  death  hallows  the  memory  of  the 
departed,  and  makes  survivors  all  the  more  faithful  in  their  love. 
As  the  emblem  of  such  fidelity  and  affection  Alciat  (Emb.  159) 
selects  the  figures  of  the  elm  and  the  vine.* 

Amicitia  etiam  poft  mortem  durans. 
EMBLEMA    CLIX. 


Alciat,  1581. 


*  With  the  addition  of  two  friends  in  conversation  seated  beneath  the  elm  and 
vine,  Boissard  and  Messin  (1588,  pp.  64,  65)  give  the  same  device,  to  the  mottoes, 
"AMICITLE  IMMORTAL!,"—  To  immortal  friendship  ;  "  Parfaite  est  1'Amitie  qui  vit 
apres  la  mort." 


3o8  CLASSIFICATION.  [CHAP.  VI. 

The  consociation  in  life  is  not  forgotten  ;  and  though  the 
supporting  tree  should  die,  the  twining  plant  still  grasps  it  round 
and  adorns  it  with  leaves  and  fruit. 

>^RENTEM  fenio,  nudam  quoque  frondibus  <vlmum, 

Complexa  eft  <viridi  witis  opaca  coma : 
Agnofcit([s  'vices  naturae  t  &  grata  parenti 

Officij  reddit  mutua  iurafuo. 
Ex emplot^  tnonet,  tales  nos  queer  ere  amicos, 

$uos  neque  difiung  at  feeder  e  summa  dies. 

To  which  lines  Whitney  (p.  62)  gives  for  interpretation  the  two 
stanzas, — 

"  A    Withered  Elme,  whose  boughes  weare  bare  of  leaues 

And  sappe,  was  sunke  with  age  into  the  roote : 
A  fruictefull  vine,  vnto  her  bodie  cleaues, 
Whose  grapes  did  hange,  from  toppe  vnto  the  foote  : 
And  when  the  Elme,  was  rotten,  drie,  and  dead, 
His  braunches  still,  the  vine  abowt  it  spread. 

Which  showes,  wee  shoulde  be  linck'de  with  such  a  frende, 
That  might  reuiue,  and  helpe  when  wee  bee  oulde  : 
And  when  wee  stoope,  and  drawe  vnto  our  ende, 
Our  staggering  state,  to  helpe  for  to  vphoulde  : 
Yea,  when  wee  shall  be  like  a  sencelesse  block, 
That  for  our  sakes,  will  still  imbrace  our  stock." 

The  Emblems  of  Joachim  Camerarius, — Ex  Re  Herbaria 
(edition  1590,  p.  36), — have  a  similar  device  and  motto, — 

"  Quamlibet  arenti  vitis  tamen  haret  in  ulmo, 
Sic  quoque  post  mortem  verus  amicus  amat? 

i.e.  "  Yet  as  it  pleases  the  vine  clings  to  the  withered  elm, 

So  also  after  death  the  true  friend  loves." 

And  in  the  Emblems  of  Otho  Vaenius  (Antwerp,  1608, 
p.  244),  four  lines  of  Alciat  being  quoted,  there  are  both  English 
and  Italian  versions,  to — 


SECT.  IV.]  EMBLEMS    IN   FABLES.  309 

"  Loue  after  death:'. 

"  The  vyne  doth  still  embrace  the  elme  by  age  ore-past, 
Which  did  in  former  tyme  those  feeble  stalks  vphold, 
And  constantly  remaynes  with  it  now  beeing  old, 

Loue  is  not  kil'd  by  death,  that  after  death  doth  last." 

And,— 

"  Ne  per  morte  muore." 

"  s'Auiticchia  la  vite,  e  Volmo  abbraccia, 
Anchor  che  il  tempo  secchi  le  sue piante ; 
Nopo  morte  VAmor  tiensi  constant  e. 

Non  teme  morte  A  more,  anzi  la  scaccia" 

It  is  in  the  Comedy  of  Errors  (act  ii.  sc.  2,  1.  167,  vol.  i. 
p.  417)  that  Shakespeare  refers  to  this  fable,  when  Adriana 
addresses  Antipholus  of  Syracuse, — 

"  How  ill  agrees  it  with  your  gravity 
To  counterfeit  thus  grossly  with  your  slave, 
Abetting  him  to  thwart  me  in  my  mood  ! 
Be  it  my  wrong,  you  are  from  me  exempt, 
But  wrong  not  that  wrong  with  a  more  contempt. 
Come,  I  will  fasten  on  this  sleeve  of  thine  : 
Thou  art  an  elm,  my  husband,  I  a  vine, 
Whose  weakness,  married  to  thy  stronger  state, 
Makes  me  with  thy  strength  to  communicate." 

With  a  change  from  the  vine  to  the  ivy  a  very  similar 
comparison  occurs  in  the  Midsummer  Night's  Dream  (act  iv. 
sc.  i,  1.  37,  vol.  ii.  p.  250).  The  infatuated  Titania  addresses 
Bottom  the  weaver  as  her  dearest  joy, — 

"  Sleep  thou,  and  I  will  wind  thee  in  my  arms. 
Fairies  begone,  and  be  all  ways  away. 
So  doth  the  woodbine  the  sweet  honeysuckle 
Gently  entwist  ;  the  female  ivy  so 
Enrings  the  barky  ringers  of  the  elm. 
O,  how  I  love  thee  !  how  I  dote  on  thee  !" 

The  fable  of  the  Fox  and  the  Grapes  is  admirably 
represented  in  Freitag's  Mythologia  Ethica  (p.  127),  to  the 


3io 


CLASSIFICATION. 


[CHAP.  VI. 


motto,    "  Feigned    is    the    refusal    of    that   which    cannot    be 
had,"- 

Ficla  eius  quod  haberi  nequit 
recufatio. 


Freitag,  1579. 

Fatuusftatim  indicat  iramjuam  :  qui  autem  diffimulat  iniuriam,  callidus  eft. 

Prouerb.  12,  16. 


"A  fool's  wrath  is  presently  known  :  but  a  prudent  man  covereth  shame." 

The  fable  itself  belongs  to  an  earlier  work  by  Gabriel 
Faerni,  and  there  exemplifies  the  thought,  "to  glut  oneself 
with  one's  own  folly,"- 

"  Stultitia  sua  seipsum  saginare? 

"  VULPES  esuriens,  alta  de  vite  racemos 
Pendentes  nulla  quum  prensare  arte  valeret, 
Nee  pedibus  tantum,  aut  agili  se  tollere  saltu, 


SECT.  IV.]  EMBLEMS    IN  FABLES.  3n 

Re  infecta  abscedens,  haec  secum,  Age,  desine,  dixit. 
Immatura  vva  est,  gustuque  insuavis  acerbo. 

Consueuere  homines,  eventu  si  qua  sinistro 

Vota  cadunt,  iis  sese  alienos  velle  videri." 

Whitney  takes  possession  of  .Faerni's  fable,  and  gives  the 
following  translation  (p.  98),  though  by  no  means  a  literal 
one, — 

"  r  I  ^HE  Foxe,  that  longe  for  grapes  did  leape  in  vayne, 
With  wearie  limmes,  at  lengthe  did  sad  departe  : 
And  to  him  selfe  quoth  hee,  I  doe  disdayne 
These  grapes  I  see,  bicause  their  taste  is  tarte  : 
So  thou,  that  hunt'st  for  that  thou  longe  hast  mist, 
Still  makes  thy  boast,  thou  maist  if  that  thou  list." 

Plantin,  the  famed  printer  of  Antwerp,  had,  in  1583,  put 
forth  an  edition  of  Faerni's  fables,*  and  thus  undoubtedly  it 
was  that  Whitney  became  acquainted  with  them  ;  and  from  the 
intercourse  then  existing  between  Antwerp  and  London  it 
would  be  strange  if  a  copy  had  not  fallen  into  Shakespeare's 
hands. 

Owing  to  some  malady,  the  King  of  France,  in  All's  Well 
that  Ends  Well  (act  ii.  sc.  I,  1.  59,  vol.  iii.  p.  133),  is  unable  to  go 
forth  to  the  Florentine  war  with  those  whom  he  charges  to  be 
"the  sons  of  worthy  Frenchmen."  Lafeu,  an  old  lord,  has 
learned  from  Helena  some  method  of  cure,  and  brings  the 
tidings  to  the  king,  and  kneeling  before  him  is  bidden  to 
rise, — 

"  King.  I'll  fee  thee  to  stand  up. 

Laf.  Then  here's  a  man  stands,  that  has  brought  his  pardon. 
I  would  you  had  kneel'd,  my  lord,  to  ask  me  mercy  ; 
And  that  at  my  bidding  you  could  so  stand  up. 

King.  I  would  I  had ;  so  I  had  broke  thy  pate, 
And  ask'd  thee  mercv  for't. 


*  "Centvm  Fabvlse  ex  Antiqvis  delectse,  et  a  Gabriele  Faerno  Cremonense 
carminibus  explicate.  Antuerpiae  ex  officina  Christoph.  Plantini,  M.D.LXXXIII." 
i6mo.  pp.  I — 171. 


312  CLASSIFICATION.  [CHAP.  VI. 

Laf.  Good  faith,  across  :  but,  my  good  lord,  'tis  thus  ; 
Will  you  be  cured  of  your  infirmity  ? 

King.  No. 

Laf.  O,  will  you  eat  no  grapes,  my  royal  fox  ? 
Yes,  but  you  will  my  noble  grapes,  an  if 
My  royal  fox  could  reaph  them  :  I  have  seen  a  medicine 
That's  able  to  breathe  life  into  a  stone, 
Quicken  a  rock,  and  make  you  dance  canary 
With  spritely  fire  and  motion." 

The  fox,  indeed,  has  always  been  a  popular  animal,  and  is 
the  subject  of  many  fables  which  are  glanced  at  by  Shake- 
speare ;  —  as  in  the  Two  Gentlemen  of  Verona  (act  iv.  sc.  4,  1.  87, 
vol.  i.  p.  143),  when  Julia  exclaims,  — 

"  Alas,  poor  Proteus  !  thou  hast  entertained 
A  fox  to  be  the  shepherd  of  thy  lambs." 

Or  in  2  Henry  VI.  (act  iii.  sc.  I,  1.  55,  vol.  v.  p.  153),  where 
Suffolk  warns  the  king  of  "  the  bedlam  brain-sick  duchess  "  of 
Gloucester,  — 

"  Smooth  runs  the  water  where  the  brook  is  deep." 
"  The  fox  barks  not  when  he  would  steal  the  lamb." 

And  again,  in  3  Henry  VL  (act  iv.  sc.  7,  1.  24,  vol.  v.  p.  312),  the 
cunning  creature  is  praised  by  Gloucester  in  an  "aside?- 

"  But  when  the  fox  hath  once  got  in  his  nose, 
He'll  soon  find  means  to  make  the  body  follow." 

The  bird  in  borrowed  plumes,  or  the  Jackdaw  dressed  out  in 
Peacock's  feathers,  was  presented,  in  1596,  on  a  simple  device, 
not  necessary  to  be  produced,  with  the  motto,  "  QVOD  SIS  ESSE 
VELIS,"  —  Be  willing  to  be  what  thou  art. 


"  Mutatis  de  te  narratur  fabula 

Quiferre  alterius  parta  labore  ftudes." 

i.e.  "  By  a  change  in  the  words  of  thyself  the  fable  is  told,    . 

Who  by  labour  of  others  dost  seek  to  bear  off  the  gold." 


SECT.  IV.]  EMBLEMS    IN   FABLES.  313 

It  is  in  the  Third  Century  of  the  Symbols  and  Emblems  of 
Joachim  Camerarius  (No.  81),  and  by  him  is  referred  to  ^Esop,* 
Horace,  &c.  ;  and  the  recently  published  Microcosm,  the  1579 
edition  of  which  contains  Gerard  de  Jode's  fine  representation  of 
the  scene. 

Shakespeare  was  familiar  with  the  fable.  In  2  Henry  VI. 
(act  iii.  sc.  i,  1.  69,  vol.  v.  p.  153),  out  of  his  simplicity  the  king 
affirms, — 

"  Our  kinsman  Gloucester  is  as  innocent 
From  meaning  treason  to  our  royal  person 
As  is  the  sucking  lamb  or  harmless  dove." 

But  Margaret,  his  strong-willed  queen,  remarks  (1.  75),— 

"  Seems  he  a  dove  ?  his  feathers  are  but  borrow'd, 
For  he's  disposed  as  the  hateful  raven. 
Is  he  a  lamb  ?  his  skin  is  surely  lent  him, 
For  he's  inclined  as  is  the  ravenous  wolf." 

In  Julius  Ccesar  (act  i.  sc.  i,  1.  68,  vol.  vii,  p.  322),  Flavius, 
the  tribune,  gives  the  order, — 

"  Let  no  images 
Be  hung  with  Caesar's  trophies  ;  " 

and  immediately  adds  (1.  72), — 

"  These  growing  feathers  pluck'd  from  Caesar's  wing 
Will  make  him  fly  an  ordinary  pitch, 
Who  else  would  soar  above  the  view  of  men 
And  keep  us  all  in  servile  fearfulness." 

But  more  forcibly  is  the  spirit  of  the  fable  expressed, 
when  of  Timon  of  Athens  (act  ii.  sc.  i,  1.  28,  vol.  vii.  p.  228) 


*  See  the  French  version  of  JEsop,  with  150  beautiful  vignettes,  "  LES  FABLES 
ET  LA  VIE  D'ESOPE:"  "A  Anvers  En  1'imprimerie  Plantiniene  Chez  la  Vefue,  & 
Jean  Mourentorf,  M.D.XCIII."  Here  the  bird  is  a  jay  (see  p.  117,  Du  Gay,  xxxi)  ; 
and  the  peacocks  are  the  avengers  upon  the  base  pretender  to  glories  not  his  own. 


3 1 4  CLASSIFICA  TION.  [CHAP.  VI. 

a  Senator,  who  was  one  of  his  importunate  creditors,  de- 
clares,— 

"  I  do  fear, 

When  every  feather  sticks  in  his  own  wing, 

Lord  Timon  will  be  left  a  naked  gull, 

Which  flashes  now  a  phoenix." 

/ 
The  fable  of  the  Oak  and  the  Reed,  or,  the  Oak  and  the 

Osier,  has  an  early  representation  in  the  Emblems  of  Hadrian 
Junius,  Antwerp,  1565,  though  by  him  it  is  applied  to  the  ash. 
"  Eifa?  n/ca,"  or,  Victrix  animi  equitas, — "  By  yielding  conquer," 
or,  "Evenness  of  mind  the  victrix," — are  the  sentiments  to  be 
pictured  forth  and  commented  on.  The  device  we  shall  take 
from  Whitney  ;  but  the  comment  of  Junius  runs  thus  (p.  49), — 

"  Ad  Victorem  Giselinum" 

"  Vis  Boreas  obnixas  violento  turbine  sternit 

Ornos  :  Arundo  infracta  eandem  despicit. 
Fit  victor  patiens  animus  cedendo  furori : 
Insiste,  Victor,  hanc  viam  &  re,  &  nomine." 

i.e.  "  The  stout  ash  trees,  with  violent  whirl 

The  North-wind's  force  is  stretching  low  ; 
The  reeds  unbroken  rise  again 

And  still  in  full  vigour  grow. 
Yielding  to  rage,  the  patient  mind 

Victor  becomes  with  added  fame  ; 
That  course,  my  Victor,  thou  pursue 

Reality,  as  well  as  name." 

Whitney  adopts  the  same  motto  (p.  220),  "  He  conquers  who 
endures ; "  but  while  retaining  from  Junius  the  ash-tree  in  the 
pictorial  illustration,  he  introduces  into  his  stanzas  "  the  mightie 
oke,"  instead  of  the  "  stout  ash."  From  Erasmus  (in  Epist.}  he 
introduces  an  excellent  quotation,  that  "  it  is  truly  the  mark  of 
a  great  mind  to  pass  over  some  injuries,  nor  to  have  either  ears 
or  tongue  ready  for  certain  revilings." 


SECT.  IV.] 


EMBLEMS    IN    FABLES. 

Vinclt  qul  pat i fur. 


315 


"  rT^HE  mightie  oke,  that  shrinkes  not  with  a  blaste, 

But  stiflie  standes,  when  Boreas  moste  doth  blowe, 
With  rage  thereof,  is  broken  downe  at  laste, 
When  bending  reedes,  that  couche  in  tempestes  lowe 
With  yeelding  still,  doe  safe,  and  sounde  appeare  : 
And  looke  alofte,  when  that  the  cloudes  be  cleare. 

When  Enuie,  Hate,  Contempte,  and  Slaunder,  rage  : 

Which  are  the  stormes,  and  tempestes,  of  this  life  ; 

With  patience  then,  wee  must  the  combat  wage, 

And  not  with  force  resist  their  deadlie  strife  : 
But  suffer  still,  and  then  wee  shall  in  fine, 
Our  foes  subdue,  when  they  with  shame  shall  pine." 

On  several  occasions  Shakespeare  introduces  this  fable,  and 
once  moralises  on  it  quite  in  Whitney's  spirit,  if  not  in  his 
manner.  It  is  in  the  song  of  Guiderius  and  Arviragus  from  the 
Cymbclinc  (act  iv.  sc.  2,  1.  259,  vol.  ix.  p.  257), — 

"  GUI.  Fear  no  more  the  heat  o'  the  sun, 

Nor  the  furious  winter's  rages  ; 

Thou  thy  worldly  task  hast  done, 

Home  art  gone  and  ta'en  thy  wages  : 
Golden  lads  and  girls  all  must, 
As  chimney-sweepers,  come  to  dust. 


316  CLASSIFICATION.  [CHAP.  VI. 

Arv.    Fear  no  more  the  frown  o'  the  great  ; 

Thou  art  past  the  tyrant's  stroke  ; 
Care  no  more  to  clothe  and  eat ; 

To  thee  the  reed  is  as  the  oak  : 
The  sceptre,  learning,  physic,  must 
All  follow  this  and  come  to  dust." 

Less  direct  is  the  reference  in  the  phrase  from  Troilus  and 
Cressida  (act  i.  sc.  3,  1.  49,  vol.  vi.  p.  143),— 

"  when  the  splitting  wind 
Makes  flexible  the  knees  of  knotted  oaks." 

To  the  same  purport  are  Caesar's  words  (Julius  Ccesar,  act  i. 
sc.  3,  1.  5,  vol.  vii.  p.  334) — 

"  I  have  seen  tempests,  when  the  scolding  wings 
Have  rived  the  knotty  oaks." 

In  Love's  Labour's  Lost  (act  iv.  sc.  2,  1.  100,  vol.  ii.  p.  138), 
the  Canzonet,  which  Nathaniel  reads,  recognises  the  fable 
itself,— 

"  If  love  make  me  forsworn,  how  shall  I  swear  to  love  ? 
Ah,  never  faith  could  hold,  if  not  to  beauty  vow'd  ! 
Though  to  myself  forsworn,  to  thee  I'll  faithful  prove ; 

Those  thoughts  to  me  were  oaks,  to  thee  like  osiers  bow'd."  ' 

We  have,  too,  in  Coriolanus  (act  v.  sc.  2,  1.  102,  vol.  vi.  p.  403) 
the  lines,  "  The  worthy  fellow  is  our  general :  He  is  the  rock  ; 
the  oak  not  to  be  wind  shaken." 

This  phrase  is  to  be  exampled  from  Otho  Vaenius  (p.  116), 
where  occur  the  English  motto  and  stanza,  "  Strengthened  by 
trauaile,"- 

"  Eu'n  as  the  stately  oke  whome  forcefull  wyndes  do  moue, 
Doth  fasten  more  his  root  the  more  the  tempest  blowes, 
Against  disastres  loue  or  firmness  greater  growes, 

And  makes  each  aduers  change  a  witness  to  his  loue." 


SECT  IV.]  EMBLEMS    IN    FABLES.  317 

In  several  instances  it  is  difficult  to  determine  whether 
expressions  which  have  the  appearance  of  glancing  at  fables 
really  do  refer  to  them,  or  whether  they  are  current  sayings, 
passing  to  and  fro  without  any  defined  ownership.  Also  it  is 
difficult  to  make  an  exact  classification  of  what  belongs  to  the 
fabulous  and  what  to  the  proverbial.  Of  both  we  might  collect 
many  more  examples  than  those  which  we  bring  forward  ;  but 
the  limits  of  our  subject  remind  us  that  we  must,  as  a  general 
rule,  confine  our  researches  and  illustrations  to  the  Emblem 
writers  themselves.  We  take  this  opportunity  of  saying  that  we 
may  have  arranged  our  instances  in  an  drder  which  some  may 
be  disposed  to  question ;  but  mythology,  fable,  and  proverb 
often  run  one  into  the  other,  and  the  knots  cannot  easily  be 
disentangled.  Take  a  sword  and  cut  them  ;  but  the  sword 
though  sharp  is  not  convincing. 


318  CLASSIFICATION.  [CHAP.  VI. 


SECTION   V. 

EMBLEMS   IN   CONNEXION    WITH  PROVERBS. 

ROVERBS  are  nearly  always  suggestive  of  a 
little  narrative,  or  of  a  picture,  by  which  the 
sentiment  might  be  more  fully  developed.  The 
brief  moral  reflections  appended  to  many  fables 
partake  very  much  of  the  nature  of  proverbs.  Inasmuch, 
then,  as  there  is  this  close  alliance  between  them,  we  might 
consider  the  Proverbial  Philosophy  of  Shakespeare  only  as  a 
branch  of  the  Philosophy  of  Fable ;  still,  as  there  are  in  his 
dramas  many  instances  of  the  use  of  the  pure  proverb,  and 
instances  too  of  the  same  kind  in  the  Emblem  writers,  we 
prefer  making  a  separate  Section  for  the  proverbs  or  wise 
sayings. 

Occasionally,  like  the  Sancho  Panza  of  his  renowned  contem- 
porary, Michael  de  Cervantes  Saavedra,  1549 — 1616,*  Shake- 
speare launches  "  a  leash  of  proverbial  philosophies  at  once ;  " 
but  with  this  difference,  that  the  dramatist's  application  of  them 
is  usually  suggestive  either  of  an  Emblem-book  origin,  or  of  an 
Emblem-book  destination.  The  example  immediately  in  view 
is  from  the  scene  (3  Henry  VI.,  act  i.  sc.  4,  1.  39,  vol.  v.  p.  245) 
in  which  Clifford  and  Northumberland  lay  hands  of  violence  on 

*  Cervantes  and  Shakespeare  died  about  the  same  time, — it  may  be,  on  the  same 
day  ;  for  the  former  received  the  sacrament  of  extreme  unction  at  Madrid  i8th  of 
April,  1616,  and  died  soon  after  ;  and  the  latter  died  the  23rd  of  April,  1616. 


SECT.  V.]  EMBLEMS     WITH   PROVERBS.  319 

Richard  Plantagenet,  duke  of  York  ;  the  dialogue  proceeds  in 
the  following  way,  York  exclaiming, — 

"  Why  come  you  not  ?  what !  multitudes,  and  fear  ? 

Clif.  So  cowards  fight,  when  they  can  fly  no  further. 
So  doves  do  peck  the  falcon's  piercing  talons." 

The  queen  entreats  Clifford,  "  for  a  thousand  causes,"  to  with- 
hold his  arm,  and  Northumberland  joins  in  the  entreaty, — 

"  North.  Hold,  Clifford  !  do  not  honour  him  so  much, 
To  prick  thy  finger,  though  to  wound  his  heart  : 
What  valour  were  it,  when  a  cur  doth  grin, 
For  one  to  thrust  his  hand  between  his  teeth, 
When  he  might  spurn  him  with  his  foot  away  ?  " 

Clifford  and  Northumberland  seize  York,  who  struggles  against 
them  (1.  61),— 

"  Clif.  Ay,  ay,  so  strives  the  woodcock  with  the  gin.* 
North.  So  doth  the  cony  struggle  in  the  net." 

York  is  taken  prisoner,  as  he  says  (1.  63), — 

"  So  triumph  thieves  upon  their  conquer'd  booty  ; 
So  true  men  yield,  with  robbers  so  o'ermatch'd." 

The  four  or  five  notions  or  sayings  here  enunciated  a 
designer  or  engraver  could  easily  translate  into  as  many  Em- 
blematical devices,  and  the  mind  which  uses  them,  as  naturally 
as  if  he  had  invented  them,  must  surely  have  had  some  famili- 
arity with  the  kind  of  writing  of  which  proverbs  are  the  main 
source  and  foundation. 

In  this  connection  we  will  quote  the  proverb  which  "  Clifford 
of  Cumberland"  (2  Henry  VI.,  act  v.  sc.  2,  1.  28,  vol.  vi.  p.  217) 
utters  in  French  at  the  very  moment  of  death,  and  which  agrees 

*  Paralleled  in  TEsop's  Fables,  Antwerp,  1593  ;  by  Fab.  xxxviii.,  De  I  Espriuier 
&>  du  Rossignol ;  lii.,  DC  I  Oyseleur  6°  du  Merle  ;  and  Ixxvii.,  Du  Laboureur  &  de  la 
Cigoigne* 


320  CLASSIFICATION.  [CHAP.  VI. 

very  closely  with  similar  sayings  in  Emblem-books  by  French 
authors, — Perriere  and  Corrozet, — and  still  more  in  suitableness 
to  the  occasion  on  which  it  was  spoken,  the  end  of  life. 

York  and  Clifford, — it  is  the  elder  of  that  name, — engage  in 
mortal  combat  (1.  26), — 

"  Clif.  My  soul  and  body  on  the  action  both  ! 
York.  A  dreadful  lay  !  address  thee  instantly." 

\Theyfight,  and  CLIFFORD  falls. 

At  the  point  of  death  Clifford  uses  the  words  (1.  28),  La  fin 
couronne  les  cenvres* — "  The  end  crowns  the  work."  It  was,  no 
doubt,  a  common  proverb ;  but  it  is  one  which  would  suggest  to  the 
Emblem  writer  his  artistic  illustration,  and,  with  a  little  change, 
from  some  such  illustration  it  appears  to  have  been  borrowed. 
Whitney  (p.  1 30)  records  a  resemblance  to  it  among  the  sayings 
of  the  Seven  Sages,  dedicated  "  to  Sir  HVGHE  CHOLMELEY 
Knight"— 

"  And  SOLON  said,  Remember  still  thy  ende." 

The  two  French  Emblems 
alluded  to  above  are  illus- 
trative of  the  proverb,  "  The 
end  makes  us  all  equal," 
and  both  use  a  very  appro- 
priate and  curious  device 
from  the  game  of  chess. 
Take,  first,  Emb.  27  from 
Perriere's  Theatre  des  Bons 

Perriere,  1539.  EnglHS  .'    Paris,    1539,— 

*  Identical  almost  with  "La  fin  covronne  Poewre"  in  Messin's  version  of  Bois- 
sard's  Emblematum  Liber  (410,  1588),  where  (p.  20)  we  have  the  device  of  the  letter 
Y  as  emblematical  of  human  life  ;  and  at  the  end  of  the  stanzas  the  lines, — 

"  L'estroit  est  de  vertu  le  sentier  espineux, 
Qui  couronne  de  vie  en  fin  le  vertueux  : 
C'est  ce  que  considere  en  ce  lieu  Pythagore." 


SECT.  V.] 


EMBLEMS     WITH   PROVERBS. 


321 


XXVII. 

E  Roy  d'efchez,  pendant  que  le  ieu  dure, 
*— -*  Sur  fes  fubieftz  ha  grande  preference, 
Sy  Ton  le  matte,  il  conuiet  qu'il  endure 
Que  1'on  le  mette  au  fac  fans  difference. 
Cecy  nous  faift  notable  demonftrance, 
Qu'  apres  le  ieu  de  vie  tranfitoire, 
Quad  mort  nous  a  mis  en  fo  repertoire, 
Les  roys  ne  lot  plufgras  que  les  vaflaulx  j 
Car  dans  le  fac  (come  a.  tous  eft  notoire), 
Roys  &  pyons  en  honeur  font  efgaulx. 


The    other,    from    Corrozet,    is    in   his 
Paris,  1540,— 


HECATOMGRAPHIE  : " 


La  terre  eft  egual^  a  chafcun, 
Par  tous  les  pays  &  prouinces, 
Aufli  toft  faift  pourrir  les  princes. 
Que  les  corps  du  pauure  commun. 


Corrozet,  1540. 


322  CLASSIFICATION.  [CHAP.  VI. 

Vr  1'efchiquier  font  les  efchez  affis, 

Tous  en  leur  reg  par  ordre  bi£  raffis, 
Les  roys  en  hault  pour  duyre  les  combatz, 
Les  roynes  pres,  les  cheualiers  plus  has, 
Les  folz  deffoubz,  puis  apres  les  pions, 
Les  rocz  auffy  de  ce  ieu  champions. 
Et  quand  le  tout  eft  aflis  en  fon  lieu 
Subtilement  on  commence  le  ieu. 
*  Or  vault  le  roy  au  ieu  de  1'efchiquier, 
Mieulx  que  la  royne  &  moins  le  cheualier. 
Chafcun  pion  de  tous  ceulx  la  moins  vault, 
Mais  quand  c'eft  faift  &  que  le  ieu  deffault 
II  n'ya  roy,  ne'  royne,  ne  le  roc, 
Qu*  enfemblement  tout  ne  foit  a.  vng  bloc, 
Mis  dans  vng  fac,  fans  ordre  ne  degre, 
Et  fans  auoir  1'ung  plus  que  l'aultre'&  gre. 
Ainfi  eft  il  de  nous  pauures  humains, 
Aulcuns  font  grands  Empereurs  des  Remains, 
Les  aultres  roys,  les  aultres  ducz  &  comtes, 
Aultres  petis  dont  on  ne  faicl  grandz  comptes. 
Nous  iouons  tous  aux  efchez  en  ce  monde, 
Entre  les  biens  ou  1'ung  plufqu'  aultre  abonde, 
Mais  quand  le  iour  de  la  vie  eft  pafle, 
Tout  corps  humain  eft  en  terre  mufle, 
Autant  les  grands  que  petis  terre  cceuure, 
Tant  feulement  nous  refte  la  bonne  ceuure. 

Corrozet's  descriptive  verses  conclude  with  thoughts  to  which 
old  Clifford's  dying  words  might  well  be  appended  :  "  When 
the  game  of  life  is  over,*  every  human  body  is  hidden  in 
the  earth ;  as  well  great  as  little  the  earth  covers  ;  what  alone 
remains  to  us  is  the  good  deed."  "LA  FIN  COURONNE  LES 
(EUVRES." 

But  Shakespeare  uses  the  expression,  "the  end  crowns  all," 
almost  as  Whitney  (p.  230)  does  the  allied  proverb,  "Time 
terminates  all," — 


*  In  the  Emblems  of  Lebeus-Batillius  (4to,  Francfort,  1596),  human  life  is  com- 
pared to  a  game  with  dice.  The  engraving  by  which  it  is  illustrated  represents  three 
men  at  play  with  a  backgammon -board  before  them. 


SECT.  V.]  EMBLEMS     WITH    PROVERBS.  323 

Tempus  omnia  terminat. 


Whitney,  1586. 

E  longeft  daye,  in  time  refignes  to  night e. 
The  greateft  oke,  in  time  to  dufle  doth  turne : 
The  Rauen  dies,  the  Eglefailes  offlighte. 
The  Phcenix  rare,  in  time  her  f elf e  doth  burne. 
The  princelie  ftagge  at  lengthe  his  race  doth  ronne. 
And  all  muft  ende,  that  euer  -ivas  begonne. 

A  sentiment  this  corresponding  nearly  with  Hector's  words, 
in  the  Troilus  and  Cressida  (act  iv.  sc.  5,  1.  223,  vol.  vi. 
P-  230),— 

"  The  fall  of  every  Phrygian  stone  will  cost 
A  drop  of  Grecian  blood  :  the  end  crowns  all, 
And  that  old  common  arbitrator,  Time, 
Will  one  day  end  it." 

Prince  Henry  (2  Henry  IV.,  act  ii.  sc.  2,  1.  41,  vol.  iv.  p.  392), 
in  reply  to  Poins,  gives  yet  another  turn  to  the  proverb  :  "  By 
this  hand,  thou  thinkest  me  as  far  in  the  devil's  books  as  thou 
and  Falstaff  for  obduracy  and  persistency  ;  let  the  end  try  the 
man." 

In  Whitney's  address  "  to  the  Reader,"  he  speaks  of  having 
collected  "sondrie  deuises"  against  several  great  faults  which 


324  CLASSIFICATION.  [CHAP.  VI. 

he  names,  "  bycause  they  are  growe  so  mightie  that  one  bloe 
will  not  beate  them  downe,  but  newe  headdes  springe  vp  like 
Hydra,  that  Hercules  weare  not  able  to  subdue  them."  "  But," 
he  adds,  using  an  old  saying,  "  manie  droppes  pierce  the  stone, 
and  with  manie  blowes  the  oke  is  ouerthrowen." 

Near  Mortimer's  Cross,  in  Herefordshire,  a  messenger  relates 
how  "  the  noble  Duke  of  York  was  slain  "  (3  Henry  VI.,  act  ii. 
sc.  i,  1.  5°j  v°l-  v-  P-  252)>  and  employs  a  similar,  almost  an 
identical,  proverb, — 

"  Environed  he  was  with  many  foes, 
And  stood  against  them,  as  the  hope  of  Troy 
Against  the  Greeks  that  would  have  enter'd  Troy. 
But  Hercules  himself  must  yield  to  odds  ; 
And  many  strokes,  though  with  a  little  axe, 
Hew  down  and  fell  the  hardest-timber'd  oak." 

This  is  almost  the  coincidence  of  the  copyist,  and  but  for  the 
necessities  of  the  metre,  Whitney's  words  might  have  been 
literally  quoted. 

"  Manie  droppes  pierce  the  stone,"  has  its  parallel  in  the 
half-bantering,  half-serious,  conversation  between  King  Edward 
and  Lady  Grey  (3  Henry  VI.,  act  iii.  sc.  2,  1.  48,  vol.  v.  p.  280). 
The  lady  prays  the  restoration  of  her  children's  lands,  and  the 
king  intimates  he  has  a  boon  to  ask  in  return, — 

"  King  Edw.  Ay,  but  thou  canst  do  what  I  mean  to  ask. 
Grey.  Why  then  I  will  do  what  your  grace  commands. 
Glou.  [Aside  to  CLAR.]  He  plies  her  hard  ;  and  much  rain  wears 

the  marble. 

Clar.  [Aside  to  GLOU.]  As  red  as  fire  !   nay,  then  her  wax  must 
melt." 

In  Otho  Vaenius  (p.  210),  where  Cupid  is  bravely  working  at 
felling  a  tree,  to  the  motto,  "  By  continuance,"  we  find  the 
stanza, — 


SECT.  V.]  EMBLEMS     WITH   PROVERBS.  325 

"  Not  with  one  stroke  at  first  the  great  tree  goes  to  grownd, 
But  it  by  manie  strokes  is  made  to  fall  at  last, 
The  drop  doth  pierce  the  stone  by  falling  long  and  fast, 
So  by  enduring  long  long  sought-for  loue  is  found." 

"To  clip  the  anvil  of  my  sword,"  is  an  expression  in  the 
Coriolanus  (act  iv.  sc.  5,  lines  100 — 112,  vol.  vi.  p.  380)  very  diffi- 
cult to  be  explained,  unless  we  regard  it  as  a  proverb,  denoting 
the  breaking  of  the  weapon  and  the  laying  aside  of  enmity. 
Aufidius  makes  use  of  it  in  his  welcome  to  the  banished  Corio- 
lanus,— 

"  O  Marcius,  Marcius ! 

Each  word  thou  hast  spoke  hath  weeded  from  my  heart 

A  root  of  ancient  envy.     If  Jupiter 

Should  from  yorid  cloud  speak  divine  things, 

And  say  *  'Tis  true/  I'd  not  believe  them  more 

Than  thee,  all  noble  Marcius.     Let  me  twine 

Mine  arms  about  that  body,  where  against 

My  grained  ash  an  hundred  times  hath  broke, 

And  scarr'd  the  moon  with  splinters  :  here  I  clip 

The  anvil  of  my  sword,  and  do  contest 

As  hotly  and  as  nobly  with  thy  love 

As  ever  in  ambitious  strength  I  did 

Contend  against  thy  valour." 

To  clip,  or  cut,  i.e.,  strike  the  anvil  with  a  sword,  is  exhibited 
by  more  than  one  of  the  Emblem  writers,  whose  stanzas  are 
indeed  to  the  same  effect  as  those  of  Massinger  in  his  play,  The 
Duke  of  Florence  (act  ii.  sc.  3), — 

"  Allegiance 

Tempted  too  far  is  like  the  trial  of 
A  good  sword  on  an  anvil ;  as  that  often 
Flies  in  pieces  without  service  to  the  owner  ; 
So  trust  enforced  too  far  proves  treachery, 
And  is  too  late  repented." 

In  his  3 1st  Emblem,  Perriere  gives  the  device,  and  stanzas 
which  follow,— 


326 


CLASSIFICA  TTON. 


[CHAP.  VI, 


Perriere,  1539. 

XXXI. 

N  danger  eft  de  romp  re  ion  efpee 

Qui  fur  Penclume  en  frappe  rudement. 
Auffi  P amour  eft  bien  toft  fmcoppee, 
Quand  fon  amy  on  preffe  follement. 
Qu^i  le  fera,  perdra  iubitement 
Ce  qu'il  deburoit  bien  cheremet  garder. 
De  tel  abus,  fe  fault  contregarder, 
Come  en  ce  lieu  auds  do6lrine  exprefle. 
A  tel  effort,  ne  te  fault  hazarder 
De  perdre  amy,  quad  fouuet  tu  le  prefTe. 


SECT.  V.]  EMBLEMS     WITH   PROVERBS.  327 

But  the  meaning  is,  the  putting  of  friendship  to  too  severe  a 
trial :  "  As  he  is  in  danger  of  breaking  his  sword  who  strikes  it 
upon  an  anvil,  so  is  love  very  soon  cut  in  pieces  when  foolishly 
a  man  presses  upon  his  friend."  So  Whitney  (p.  192),  to  the 
motto,  Importunitas  euitanda, — "Want  of  consideration  to  be 
avoided,"- 

"  T  I  THO  that  with  force,  his  burnish'd  blade  doth  trie 

*  *  On  anuill  harde,  to  prooue  if  it  be  sure  : 
Doth  Hazarde  muche,  it  shoulde  in  peeces  flie, 
Aduentring  that,  which  else  mighte  well  indure  : 

For,  there  with  strengthe  he  strikes  vppon  the  stithe, 
That  men  maye  knowe,  his  youthfull  armes  haue  pithe. 

Which  warneth  those,  that  louinge  frendes  inioye, 
With  care,  to  keepe,  and  frendlie  them  to  treate, 
And  not  to  trye  them  still,  with  euerie  toye, 
Nor  presse  them  doune,  when  causes  be  too  greate, 

Nor  in  requests  importunate  to  bee  : 

For  ouermuche,  dothe  tier  the  courser  free  ? " 

Touchstone,  the  clown,  in  As  You  Like  It  (act  ii.  sc.  4,  1.  43, 
vol.  ii.  p.  400),  names  the  various  tokens  of  his  affections  for 
Jane  Smile,  and  declares,  "  I  remember,  when  I  was  in  love  I 
broke  my  sword  upon  a  stone  and  bid  him  take  that  for  coming 
a-night  to  Jane  Smile  :  and  I  remember  the  kissing  of  her 
batlet  and  the  cow's-dugs  that  her  pretty  chopt  hands  had 
milked." 

It  may,  however,  from  the  general  inaccuracy,  of  spelling  in 
the  early  editions  of  Shakespeare,  be  allowed  to  suppose  a 
typographical  error,  and  that  the  phrase  in  question  should 
read,  not  "  anvil  of  my  sword,"  but  "  handle ;  " — I  clip,  or 
embrace  the  handle,  grasp  it  firmly  in  token  of  affection. 

The  innocence  of  broken  love-vows  is  intimated  in  Romeo 
and  Juliet  (act  ii.  sc.  2,  1.  90,  vol.  vii.  p.  42), — 

"  Dost  thou  love  me  ?     I  know  thou  wilt  say  '  Ay,' 


328  CLASSIFICATION.  [CHAP.  VI 

And  I  will  take  thy  word  :  yet  if  thou  swear'st, 
Thou  mayst  prove  false  :  at  lovers'  perjuries, 
They  say,  Jove  laughs." 

And  most  closely  is  the  sentiment  represented  in  the  design  by 
Otho  van  Veen  (p.  140),  of  Venus  dispensing  Cupid  from  his 
oaths,  and  of  Jupiter  in  the  clouds  smiling  benignantly  on  the 
two.  The  mottoes  are,  "  AMORIS  IVSIVRANDVM  POENAM  NON 

HABET," — Love  excused  from  periurie, — and  "  Giuramento  sparso 
al  vento." 

In  Callimachus  occurs   Juliet's  very  expression,  "at  lovers' 
perjuries  Jove  laughs, "- 

"  Nnlla  fides  inerit :  periuria  ridet  amantum 
Juppiter,  &>  ventis  irritaferre  iubet :  " 

and  from  Tibullus  we  learn,  that  whatever  silly  love  may  have 
eagerly  sworn,  Jupiter  has  forbidden  to  hold  good, — 

"  Gratia  magna  loui  :  vetuit  pater  ipse  valere, 
lur asset  cupide  quidquid ineptus  Amor" 

The  English  lines  in  Otho  van  Veen  are, — 

"  The  louer  freedome  hath  to  take  a  louers  oth, 
Whith  if  it  prone  vntrue  hee  is  to  be  excused, 
For  venus  doth  dispence  in  louers  othes  abused, 
And  loue  no  fault  comitts  in  swearing  more  than  troth." 

The  thoughts  are,  as  expressed  in  Italian, — 

"  Se  ben  Vamante  assai  promette,  e  giura, 
Non  si  da  pena  a  le  sue  voci  infide, 
Anzi  Venere^  e  Giove  se  ne  ride. 

I"1  Amoroso  spergiuro  non  si  cur  a." 

To  such  unsound  morality,  however,  Shakespeare  offers  strong 
objections  in  the  Friar's  words  (Romeo  and  Juliet,  act  iii.  sc.  3, 

1. 126),- 

"  Thy  noble  shape  is  but  a  form  of  wax, 
Digressing  from  the  valour  of  a  man  ; 


SECT.  V.]  EMBLEMS     WITH    PROVERBS.  329 

Thy  dear  love  sworn,  but  hollow  perjury, 

Killing  that  love  which  thou  hast  vow'd  to  cherish." 

"  Labour  in  vain," — pouring  water  into  a  sieve,  is  shown  by 
Perriere  in  his  7/th  Emblem, — 


Perriere,  1539. 


where  however  it  is  a  blind  Cupid  that  holds  the  sieve,  and 
lovers'  gifts  are  the  waters  with  which  the  attempt  is  made  to  fill 
the  vessel. 


330  CLASSIFICATION.  [CHAP.  VI. 


Q 


LXXVII. 

Vi  plus  mettra  dans  le  crible  d'amours, 

Plus  y  perdra,  car  chofe  n'y  profitte  : 
Le  temps  fi  pert,  biens,  bagues  &  atours, 
Sa  douleur  eft  en  tout  amer  confitte. 
Folle  ieunefle  &  franc  vouloir  incite 
A  tel  defduift  defpendre  grofle  fomme  : 
Sur  ce  peser  doibuent  bie  ieunes  homes, 
Q,ue  de  ce  fait  meilleurs  n'S  peuuet  eftre : 
Et  quad  naurot  le  vaillat  de  deux  pomes, 
Ne  fera  temps  leur  erreur  recognoiftre. 

We  have  endeavoured  to  interpret  the  old  French  stanza  into 
English  rhyme, — 

"  Who  in  love's  tempting  sieve  shall  place  his  store, 
Since  nothing  profits  there,  will  lose  the  more  ; 
Lost  are  his  time,  goods,  rings  and  rich  array, 
Till  grief  in  bitterness  complete  his  day. 
Folly  of  youth  and  free  desire  incite 
Great  sums  to  lavish  on  each  brief  delight. 
Surely  young  men  on  this  ought  well  to  ponder, 
That  better  cannot  be,  if  thus  they  wander  ; 
And  when  remains  two  apples'  worth  alone, 
'Twill  not  the  time  be  their  mistake  to  own." 

Shakespeare  presents  the  very  same  thought  and  almost  the 
identical  expressions.  To  the  Countess  of  Rousillon,  Bertram's 
mother,  Helena  confesses  love  for  her  son,  All's  Well  that  Ends 
Well  (act  i.  sc.  3,  1.  182,  vol.  iii.  p.  127),— 

• 

"  Then,  I  confess, 

Here  on  my  knee,  before  high  heaven  and  you, 
That  before  you,  and  next  unto  high  heaven, 
I  love  your  son. 

My  friends  were  poor,  but  honest ;  so's  my  love  : 
Be  not  offended  ;  for  it  hurts  not  him 
That  he  is  loved  of  me  :  I  follow  him  not 
By  any  token  of  presumptuous  suit ; 
Nor  would  I  have  him  till  I  do  deserve  him  ; 
Yet  never  know  how  that  desert  should  be. 


SECT.  V.]  EMBLEMS     WITH   PROVERBS.  331 

I  know  I  love  in  vain,  strive  against  hope  ; 

Yet,  in  this  captious  and  intenible  sieve, 

I  still  pour  in  the  waters  of  my  love, 

And  lack  not  to  lose  still  :  thus,  Indian-like, 

Religious  in  my  error,  I  adore 

The  sun,  that  looks  upon  his  worshipper, 

But  knows  of  him  no  more." 

How  probable  do  the  turns  of  thought,  "  captious  and 
intenible  sieve,"  "  the  waters  of  my  love,"  render  the  sup- 
position that  Perriere's  Emblem  of  Love  and  the  Sieve  had 
been  seen  by  our  dramatist.  Cupid  appears  patient  and 
passive,  but  the  Lover  in  very  evident  surprise  sees  "the  rings 
and  rich  array"  flow  through  "le  crible  d'amours."  Cupid's 
eyes,  in  the  device,  are  bound,  and  the  method  of  binding  them 
corresponds  with  the  lines,  Romeo  and  Juliet  (act  i.  sc.  4,  1.  4, 
vol.  vii.  p.  23), — 

"  We'll  have  no  Cupid  hoodwink'd  with  a  scarf, 
Bearing  a  Tartar's  painted  bow  of  lath, 
Scaring  the  ladies  like  a  crow-keeper." 

Again,  though  not  in  reference  to  the  same  subject,  there  is  in 
Much  Ado  About  Nothing  (act  v.  sc.  I,  1.  I,  vol.  ii.  p.  69),  the 
comparison  of  the  sieve  to  labour  in  vain.  Antonio  is  giving 
advice  to  Leonato  when  overwhelmed  with  sorrows, — 

"  Ant.  If  you  go  on  thus  you  will  kill  yourself; 
And  'tis  not  wisdom  thus  to  second  grief 
Against  yourself. 

Leon.  I  pray  thee,  cease  thy  counsel, 

Which  falls  into  mine  ears  as  profitless 
As  water  in  a  sieve  :  give  not  me  counsel ; 
Nor  let  no  comforter  delight  mine  ear 
But  such  a  one  whose  wrongs  do  suit  with  mine." 

By  way  of  variation  we  consult  Paradin's  treatment  of  the 
same  thought  (fol.  88v),  in  which  he  is  followed  by  Whitney 
(p.  12),  with  the  motto  Frustra. 


33  2 


CLASSIFICA  TION. 


Hac  iliac  perfluo. 


[CHAP.  VI. 


Paradin,  1562. 

"  rT**  HE  Poettes  faine,  that  DANAVS  daughters  deare, 

-*•     Inioyned  are  to  fill  the  fatall  tonne : 
Where,  thowghe  they  toile,  yet  are  they  not  the  neare, 
But  as  they  powre,  the  water  forthe  dothe  runne  : 
No  paine  will  serue,  to  fill  it  to  the  toppe, 
For,  still  at  holes  the  same  doth  runne,  and  droppe." 

"  Every  rose  has  its  thorn,"  or  "  No  pleasure  without  pain," 
receives  exemplification  from  several  sources.  Perriere  (Emb. 
30)  and  Whitney  (p.  165)  present  us  with  a  motto  implying 
No  bitter  without  its  sweet,  but  giving  the  gathering  of  a  rose 
in  illustration  ;  thus  the  former  writer, — 

"  Post  amara  dulcia" 
"  Qvi  veult  la  rose'  au  vert  buysson  saisir 
Esmerueiller  ne  se  doibt  s'il  se  poinct. 
Grad  bie  na'uos,  sas  quelquc  desplaisir, 
Plaisir  ne  vient  sans  douleur,  si  apoint. 
Conclusion  sommaire,  c'est  le  point, 
Qu'  apres  douleur,  on  ha  plaisir  :  souuet 
Beau  teps  se  voit,  tost  apres  le  grat  vet, 
Grad  bie  suruiet  apres  quelque  maleur. 


SECT.  V.] 


EMBLEMS     WITH   PROVERBS. 


333 


Parquoy  pgser  doibt  tout  home  scauat, 
Oue  volupte  n'est  iamais  sans  douleur.'; 


So  Whitney  (p.  165), — 


Whitney,  1586. 

HARPE  prickes  preserue  the  Rose,  on  euerie  parte, 
That  who  in  haste  to  pull  the  same  intendes, 
Is  like  to  pricke  his  fingers,  till  they  smarte  ? 
But  being  gotte,  it  makes  him  straight  amendes 
It  is  so  freshe,  and  pleasant  to  the  smell, 
Thoughe  he  was  prick'd,  he  thinkes  he  ventur'd  well. 

And  he  that  faine  woulde  get  the  gallant  rose, 

And  will  not  reache,  for  feare  his  fingers  bleede  ; 

A  nettle,  is  more  fitter  for  his  nose  ? 

Or  hemblocke  meete  his  appetite  to  feede  ? 

None  merites  sweete,  who  tasted  not  the  sower, 
Who  feares  to  climbe,  deserues  no  fruicte,  nor  flower." 

In  the  Emblems  of  Otho  Vaenius  (p.  160),  Cupid  is  pluck- 
ing a  rose,  to  the  motto  from  Claudian,  "  ARMAT  SPINA 
ROSAS,  MELLA  TEGUNT  APES," — Englished,  " No  pleasure  witJiout 
payji" 


334  CLASSIFICATION.  [CHAP.  VI. 

"  In  plucking  of  the  rose  is  pricking  of  the  thorne, 
In  the  attayning  sweet,  is  tasting  of  the  sowre, 
With  ioy  of  loue  is  mixt  the  sharp  of  manie  a  showre, 

But  at  the  last  obtayned,  no  labor  is  forlorne." 

The  pretty  song  from  Loves  Labour's  Lost  (act  iv.  sc.  3,  1.  97, 
vol.  ii.  p.  144),  alludes  to  the  thorny  rose, — 

"  On  a  day — alack  the  day  ! 
Love,  whose  month  is  ever  May, 
Spied  a  blossom  passing  fair 
Playing  in  the  wanton  air  : 
Through  the  velvet  leaves  the  wind, 
All  unseen,  can  passage  find  ; 
That  the  lover,  sick  to  death. 
Wish  himself  the  heaven's  breath. 
/         Air,  quoth  he,  thy  cheeks  may  blow  ; 
Air,  would  I  might  triumph  so  ! 
But,  alack,  my  hand  is  sworn 
Ne'er  to  pluck  thee  from  thy  thorn." 

The  scene  in  the  Temple-garden  ;  the  contest  in  plucking 
roses  between  Richard  Plantagenet  and  the  Earls  of  Somerset, 
Suffolk,  and  Warwick  (i  Henry  VI.,  act  ii.  sc.  4,  lines  30 — 75, 
vol.  v.  pp.  36,  37),  continually  alludes  to  the  thorns  that  may  be 
found.  We  may  sunVthe  whole  "  brawl,"  as  it  is  termed,  into  a 
brief  space  (1.  68),— 

"  Plan.  Hath  not  thy  rose  a  canker,  Somerset  ? 

Som.  Hath  not  thy  rose  a  thorn,  Plantagenet  ? 

Plan.  Ay,  sharp  and  piercing,  to  maintain  his  truth  ; 
Whiles  thy  consuming  canker  eats  his  falsehood." 

"True  as  the  needle  to  the  pole,"  is  a  saying  which  of 
course  must  have  originated  since  the  invention  of  the 
mariner's  compass.  Sambucus,  in  his  Emblems  ( edition 
1584,  p.  84,  or  1599,  p.  79),  makes  the  property  of  the 
loadstone  his  emblem  for  the  motto,  The  mind  remains 
unmoved. 


SECT.  V.]  EMBLEMS     WITH   PROVERBS.  335 

Mens  immota  manet. 


S  a  mbncus,  1584. 


DICITVR  inter  na  <vi  Magnes  ferra  mouere  : 

Perpetuo  nautas  dirigere  in^  <vlam. 
Semper  enim  ft  e  Ham  fir  me  afpicit  Hie  poker  em. 

Indicat  hac  horas,  nos  varieque  monet. 
Mens  ijtlnam  In  cxlum  nobis  immota  maneret, 

Necfubitb  dublls  fluftuet  ilia  malls. 
Pax  co'e'at  tandem,  Chrifte,  <vnum  claudat  ouile, 

Lifque  tui  <verbl  lam  dlrlmatur  ope. 
Da,Jitiens  anlma  excelfasfic  appetat  arces  :  < 

Font  is  'vt  ortiui  ceruus  anhelus  aquas. 

In  the  latter  part  of  his  elegiacs  Sambucus  introduces  another 
subject,  and  gives  a  truly  religious  turn  to  the  device, — 

"  Gather'd  one  fold,  O  Christ,  let  peace  abound, 

Be  vanquish'd  by  thy  word,  our  jarring  strife  ; 
Then  thirsting  souls  seek  towers  on  heavenly  ground, 
As  pants  the  stag  for  gushing  streams  of  life." 

The  magnet's  power  alone  is  kept  in  view  by  Whitney  (p.  43), — 

"  T)  Y  vertue  hidde,  behoulde,  the  Iron  harde, 
-*-^  The  loadestone  drawes,  to  poynte  vnto  the  starre  : 
Whereby,  wee  knowe  the  Seaman  keepes  his  carde, 
And  rightlie  shapes,  his  course  to  countries  farre  : 
And  on  the  pole,  dothe  euer  keepe  his  eie, 
And  withe  the  same,  his  compasse  makes  agree. 


336  CLASSIFICATION.  [CHAP.  VI. 

Which  shewes  to  vs,  our  inward  vertues  shoulde, 
Still  drawe  our  hartes,  althoughe  the  iron  weare  : 
The  hauenlie  starre,  at  all  times  to  behoulde, 
To  shape  our  course,  so  right  while  wee  bee  heare  : 
That  Scylla,  and  Charybdis,  wee  maie  misse, 
And  winne  at  lengthe,  the  porte  of  endlesse  blisse." 

The  pole  of  heaven  itself,  rather  than  the  magnetic  needle, 
is  in  Shakespeare's  dramas  the  emblem  of  constancy.  Thus  in 
the  Julius  Ccesar  (act  iii.  sc.  I,  1.  58,  vol.  vii.  p.  363),  Metellus, 
Brutus,  and  Cassius  are  entreating  pardon  for  Publius  Cimber, 
but  Caesar  replies,  in  words  almost  every  one  of  which  is  an 
enforcement  of  the  saying,  "  Mens  immota  manet,"- 

"  I  could  be  well  moved,  if  I  were  as  you  ; 
If  I  could  pray  to  move,  prayers  would  move  me  : 
But  I  am  constant  as  the  northern  star, 
Of  whose  true-fix'd  and  resting  quality 
There  is  no  fellow  in  the  firmament. 
The  skies  are  painted  with  unnumber'd  sparks  ; 
They  are  all  fire  and  every  one  doth  shine  ; 
But  there's  but  one  in  all  doth  hold  his  place  : 
So  in  the  world  ;  'tis  furnish'd  well  with  men, 
And  men  are  flesh  and  blood,  and  apprehensive  ; 
Yet  in  the  number  I  do  know  but  one 
That  unassailable  holds  on  his  rank, 
Unshak'd  of  motion  :  and  that  I  am  he, 
Let  me  a  little  show  it,  even  in  this  ; 
That  I  was  constant  Cimber  should  be  banish'd, 
And  constant  do  remain  to  keep  him  so." 

The  Midsummer  Night's  Dream  (act  i.  sc.  i,  1.  180,  vol.  ii.  p. 
205),  introduces  Hermia  greeting  her  rival  Helena,— 

"  Her.  God  speed  fair  Helena  !  whither  away  ? 
Hel.  Call  you  me  fair  ?  that  fair  again  unsay. 
Demetrius  loves  you  fair  :  O  happy  fair  ! 
Your  eyes  are  lode-stars." 

The  scene  changes,  Helena  is  following  Demetrius,  but  he  turns 
to  her  and  says  (act  ii.  sc.  i,  1.  194,  vol.  ii.  p.  217), — 


SECT.  V.I  EMBLEMS     WITH   PROVERBS.  337 

"  Hence,  get  thee  gone,  and  follow  me  no  more. 

HeL  You  draw  me,  you  hard-hearted  adamant  ; 
But  yet  you  draw  not  iron,  for  my  heart 
Is  tnie  as  steel  :  leave  but  your  power  to  draw, 
And  I  shall  have  no  power  to  follow  you." 

The  averment  of  his  fidelity  is  thus  made  by  Troilus  to 
Cressida  (act  iii.  sc.  2,  1.  169,  vol.  vi.  p.  191), — 

"  As  true  as  steel,  as  plantage  to  the  moon, 
As  sun  to  day,  as  turtle  to  her  mate, 
As  iron  to  adamant,  as  earth  to  the  centre. 
Yet  after  all  comparisons  of  truth, 
As  truth's  authentic  author  to  be  cited, 
'  As  true  as  Troilus '  shall  crown  up  the  verse 
And  sanctify  the  numbers." 

So  Romeo  avers  of  one  of  his  followers  (act  ii.  sc.  4,  1.  187,  vol. 
vii.  p.  58) - 

"  I  warrant  thee,  my  man's  as  true  as  steel." 

"  Ex  MAXIMO  MINIMVM," — Out  of  the  greatest  the  least, — is 
a  saying  adopted  by  Whitney  (p.  229),  from  the  "  PlCTA  POESIS  " 
(P-  55)  of  Anulus, — 

EX     MAXIMO     MINIMVM. 


HAE  Sunt  Relliquiae  Sacrarij,  in  quo 
Fertur  <viua  Deifuifse  imago. 
Htec  eft  illius,  &  domus  ruina, 
In  qua  olim  Ratio  tenebat  arcem. 
At  nunc  horribilis  figura  Mortis. 
Ventofum  caput,  haud  habens  cerebrum. 


338  CLASSIFICATION.  [CHAP.  VI. 

Both  writers  make  the  proverb  the  groundwork  of  reflexions 
on  a  human  skull.  According  to  Anulus,  "  the  relics  of  the 
charnel  house  were  once  the  living  images  of  God," — "  that  ruin 
of  a  dome  was  formerly  the  citadel  of  reason."  Whitney 
thus  moralizes, — 

"  "\  T  /"HERE  liuely  once,  GODS  image  was  expreste, 

Wherin,  sometime  was  sacred  reason  plac'de, 
The  head,  I  meane,  that  is  so  ritchly  bleste, 
With  sighte,  with  smell,  with  hearinge,  and  with  taste. 
Lo,  nowe  a  skull,  both  rotten,  bare,  and  drye, 
A  relike  meete  in  charnell  house  to  lye." 

The  device  and  explanatory  lines  may  well  have  given 
suggestion  to  the  half-serious,  half-cynical  remarks  by  Hamlet 
in  the  celebrated  grave-yard  scene  (Hamlet,  act  v.  sc.  I,  1.  73, 
vol.  viii.  p.  153).  A  skull  is  noticed  which  one  of  the  callous 
grave-diggers  had  just  thrown  up  upon  the  sod,  and  Hamlet 
says  (1.  86),— 

"  That  skull  had  a  tongue  in  it,  and  could  sing  once  :  how  the  knave 
jowls  it  to  the  ground,  as  if  it  were  Cain's  jaw-bone,  that  did  the  first 
murder !  " 

And  a  little  further  on,— 

"  Here's  a  fine  revolution,  an  we  had  the  trick  to  see't.  Did  these  bones 
cost  no  more  the  breeding,  but  to  play  at  loggats  with  'em  ?  mine  ache  to 
think  on't."  * 

And  when  Yorick's  skull  is  placed  in  his  hand,  how  the 
Prince  moralizes  !  (1.  177),— 

"  Here  hung  those  lips,  that  I  have  kissed  I  know  not  how  oft.  Where 
be  your  gibes  now?  your  gambols  ?  your  songs?  your  flashes  of  merriment, 
that  were  wont  to  set  the  table  on  a  roar  ?  Not  one  now,  to  mock  your  own 

*  The  skeleton  head  on  the  shield  in  Death's  escutcheon  by  Holbein,  may  supply 
another  pictorial  illustration,  but  it  is  not  sufficiently  distinctive  to  be  dwelt  on  at  any 
length.  The  fac-simile  reprints  by  Pickering,  Bohn,  Quaritch,  or  Brothers,  render 
direct  reference  to  the  plate  very  easy. 


SECT.  V.]  EMBLEMS     WITH   PROVERBS. 


339 


grinning  ?  quite  chap-fallen  ?  Now  get  you  to  my  lady's  chamber,  and  tell 
her,  let  her  paint  an  inch  thick,  to  this  favour  she  must  come  ;  make  her 
laugh  at  that." 

And  again  (lines  191  and  200),— 

"  To  what  base  uses  we  may  return,  Horatio  ! 

Imperial  Caesar,  dead,  and  turn'd  to  clay, 
Might  stop  a  hole  to  keep  the  wind  away." 

Of  the  skull  Anulus  says,  "  Here  reason  held  her  citadel ;" 
and  the  expression  has  its  parallel  in  Edward's  lament 
(3  Henry  VI.,  act  ii.  sc.  i,  1.  68,  vol.  v.  p.  252),—- 

"  Sweet  Duke  of  York,  our  prop  to  lean  upon  ; " 
when  he  adds  (1.  74),— 

"  Now  my  soul's  palace  is  become  a  prison  ;  " 

to  which  the  more  modern  description  corresponds, — 
"  The  dome  of  thought,  the  palace  of  the  soul." 

A  far  nobler  emblem  could  be  made,  and  I  believe  has  been 
made,  though  I  cannot  remember  where,  from  those  lines  in 
Richard  II.  (act  ii.  sc.  I,  1.  267,  vol.  iv.  p.  145),  which  allude  to 
the  death's  head  and  the  light  of  life  within.  Northumberland, 
Ross  and  Willoughby  are  discoursing  respecting  the  sad  state 
of  the  king's  affairs,  when  Ross  remarks, — 

"  We  see  the  very  wreck  that  we  must  suifer  : 
And  unavoided  is  the  danger  now, 
For  suffering  so  the  causes  of  our  wreck." 

And  Northumberland  replies  in  words  of  hope  (1.  270), — 

"  Not  so  ;  even  through  the  hollow  eyes  of  death 
I  spy  life  peering." 

It  is  a  noble  comparison,  and  most  suggestive,— but  of  a  flight 
higher  than  the  usual  conceptions  of  the  Emblem  writers.  Sup- 


340 


CLASSIFICA  TION. 


[CHAP.  VI. 


plied  to  them  they  could  easily  enough  work  it  out  into  device 
and  picture,  but  possess  scarcely  power  enough  to  give  it  origin.* 

"  A  snake  lies  hidden  in  the  grass,"  is  no  unfrequent  proverb ; 
and  Paradin's  "DEVISES  HEROIQVES"  (41)  set  forth  both  the 
fact  and  the  application. 

Latet  anguis  in  herba. 


Paradiit)  1562. 

En  cueillant  les  Fleurs,  £f  les  I raizes  des  champs,  fe  faut  d'autant  garder  du 
dangereus  Serpent,  qu'il  nous  peut  enuenimer,  &f  faire  mourir  nos  corps.  Et  aufsi  en 
colligeant  les  belles  autoritez,  &  graues  fentences  des  liures,  faut  euiter  d'autant  les 
mauuaifes  opinions,  quelles  nous  peuuent  peruertir,  damner,  &  perdre  nos  antes. 

From  the  same  motto  and  device  Whitney  (p.  24)  makes  the 
application  to  flatterers,— 

flattringe  speeche,  with  sugred  wordes  beware, 
Suspect  the  harte,  whose  face  doth  fawne,  and  smile, 

*  A  note  of  inquiry,  from  Mr.  W.  Aldis  Wright,  of  Trinity  College,  Cambridge, 
asking  me  if  Shakespeare's  thought  may  not  have  been  derived  from  an  emblematical 
picture,  informs  me  that  he  has  an  impression  of  having  "  somewhere  seen  an  allego- 
rical picture  of  a  child  looking  through  the  eyeholes  of  a  skull." 


SECT.  V.]  EMBLEMS     WITH   PROVERBS.  341 

With  trusting  theise,  the  worlde  is  clog'de  with  care, 
And  fewe  there  bee  can  scape  theise  vipers  vile  : 
With  pleasinge  speeche  they  promise,  and  proteste, 
When  hatefull  hartes  lie  hidd  within  their  brest." 

According  to  the  2nd  part  of  Henry  VI.  (act  iii.  sc.  i,  1.  224, 
vol.  v.  p.  158),  the  king  speaks  favourably  of  Humphrey,  Duke  of 
Gloucester,  and  Margaret  the  queen  declares  to  the  attendant 

nobles, — 

"  Henry  my  lord  is  cold  in  great  affairs, 
Too  full  of  foolish  pity,  and  Gloucester's  show 
Beguiles  him  as  the  mournful  crocodile 
With  sorrow  snares  relenting  passengers, 
Or  as  the  snake  roll'd  in  a  flowering  bank, 
With  shining  checkered  slough,  doth  sting  a  child, 
That  for  the  beauty  thinks  it  excellent." 

In  Lady  Macbeth' s  unscrupulous  advice  to  her  husband 
(Macbeth,  act  i.  sc.  5,  1.  61,  vol.  vii.  p.  438),  the  expressions 

occur, — 

"  Your  face,  my  thane,  is  as  a  book  where  men 
May  read  strange  matters.     To  beguile  the  time, 
Look  like  the  time  ;  bear  welcome  in  your  eye, 
Your  hand,  your  tongue  :  look  like  the  innocent  flower, 
But  be  the  serpent  under't." 

Romeo  slays  Tybalt,  kinsman  to  Julia,  and  the  nurse 
announces  the  deed  to  her  (Romeo  and  Juliet,  act  iii.  sc.  2,  1.  69, 
vol.  vii.  p.  75),— 

"  Nurse.  Tybalt  is  gone,  and  Romeo  banished  ; 
Romeo  that  kilFd  him,  he  is  banished. 

Jul.  O  God  !  did  Romeo's  hand  shed  Tybalt's  blood  ? 

Nurse.  It  did,  it  did  ;  alas  the  day,  it  did  ! 

Jul.  O  serpent  heart,  hid  with  a  flowering  face  ! 
Did  ever  dragon  keep  so  fair  a  cave  ? 
Beautiful  tyrant !  fiend  angelical ! 
Dove-feather'd  raven  !  wolvish-ravening  lamb  !  " 

Though  not  illustrative  of  a  Proverb,  we  will  here  conclude 
what  has  to  be  remarked  respecting  Serpents.  An  Emblem  in 


342 


CLASSIFICA  TION. 


[CHAP.  VI. 


Paradin's  "DEVISES  HEROIQVES  "  (112)  and  in  Whitney 
(p.  166),  represents  a  serpent  that  has  fastened  on  a  man's 
finger,  and  that  is  being  shaken  off  into  a  fire,  while  the 
man  remains  unharmed  ;  the  motto,  "Who  against  us  ?"- 

Quis  contra  nos  ? 


Para  din,  1562. 

The  scene  described  in  the  Acts  of  tJie  Apostles,  chap,  xxviii.  v. 
3 — 6,  Paradin  thus  narrates, — 

"  Saint  Paul,  en  /'  ijle  de  Malte  fut  mordu  d'vn  Viper e  :  ce  neantmoins  (quoi  que 
les  Barbares  du  lieu  le  cuidajjent  autrement]  ne  <valut  pis  de  la  morsure,  secouant  de 
sa  main  la  Beste  dans  le  feu  :  car  <veretablement  a  qui  Dieu  <veut  aider,  il  riy  a  rien 
que  puifse  nuire." 

Whitney,  along  with  exactly  the  same  device,  gives  the  full 

motto, — 

"  Si  Deus  nobiscum,  quis  contra  nos  ?  " 

"  T  T  IS  seruantes  GOD  preserues,  thoughe  they  in  danger  fall  : 
•^  ^    Euen  as  from  vipers  deadlie  bite,  he  kept  th'  Appostle  Paule." 

The  action  figured  in  this  Emblem  is  spoken  of  in  the  Mid- 
summer Night's  Dream  (act  iii.  sc.  2,  1,  254,  vol.  ii.  p.  241). 


SECT.  V.]  EMBLEMS     WITH   PROVERBS.  343 

Puck  has  laid  the  "  love-juice  "  on  the  wrong  eyes,  and  in  con- 
sequence Lysander  avows  his  love  for  Helen  instead  of  for 
Hermia  ;  and  the  dialogue  then  proceeds, — 

"  Dem.  I  say  I  love  thee  more  than  he  can  do. 

Lys.  If  thou  say  so,  withdraw,  and  prove  it  too. 

Dem.  Quick,  come  ! 

Her.  Lysander,  whereto  tends  all  this  ? 

Lys.  Away,  you  Ethiope  ! 

Dem.  No,  no  ;  he'll  .  .  . 

Seem  to  break  loose  ;  take  on  as  you  would  follow, 
But  yet  come  not :  you  are  a  tame  man,  go  ! 

Lys.  Hang  off,  thou  cat,  thou  burr  !  vile  thing,  let  loose, 
Or  I  will  shake  thee  from  me  like  a  serpent  ! " 

Cardinal  Pandulph,  the  Pope's  legate,  in  King  John  (act  iii. 
sc.  i,  1.  258,  vol.  iv.  p.  42),  urges  King  Philip  to  be  champion  of 
the  Church,  and  says  to  him, — 

"  France,  thou  mayst  hold  a  serpent  by  the  tongue, 
A  chafed  lion  by  the  mortal  paw, 
A  fasting  tiger  safer  by  the  tooth, 
Than  keep  in  peace  that  hand  which  thou  dost  hold." 

King  Richard's  address  to  the  "gentle  earth,"  when  he  landed 
in  Wales  (Richard  II.,  act  iii.  sc.  2,  1.  12,  vol.  iv.  p.  164),  calls  us 
to  the  Emblem  of  the  snake  entwined  about  the  flower, — 

"  Feed  not  thy  sovereign's  foe,  my  gentle  earth, 
Nor  with  thy  sweets  comfort  his  ravenous  sense  ; 
But  let  thy  spiders,  that  suck  up  thy  venom, 
And  heavy-gaited  toads  lie  in  their  way, 
Doing  annoyance  to  the  treacherous  feet 
Which  with  usurping  steps  do  trample  thee  : 
Yield  stinging  nettles  to  mine  enemies  ; 
And  when  they  from  thy  bosom  pluck  a  flower, 
Guard  it,  I  pray  thee,  with  a  lurking  adder 
Whose  double  tongue  may  with  a  mortal  touch 
Throw  death  upon  thy  sovereign's  enemies." 

"  The  Engineer  hoist  with  his  own  petar  "  may  justly  be 
regarded  as  a  proverbial  saying.  It  finds  its  exact  correspond- 


344 


CLASSIFICA  TION. 


[CHAP.  VI. 


ence  in  Beza's  8th  Emblem  (edition  1580),  in  which  for  device  is 
a  cannon  bursting,  and  with  one  of  its  fragments  killing  the 
cannonier. 


Beza,  1580. 


"  Cernis  ut  in  coslumfuerat  quce  machina  torta, 
Fit  iaculatori  mors  proper ata  suo  ? 
In  sanctos  quicunque  Dei  ruis  impie  seruos, 
Conatus  merces  h<zc  manet  vna  tuas? 

• 

Thus  rendered  into  French  in  1581, — 

"  Vois  tu  pas  le  canon  braque'  centre  les  cieux, 
En  se  creuant  creuer  celui  la  qui  le  tire  ? 
Le  mesme  t'aduiendra,  cruel  malicieux, 
Qui  lasches  sur  les  bons  les  balles  de  ton  ire." 

The  sentiment  is  the  same  as  that  of  the  proverb  in  the 
motto  which  Lebeus-Batillius  prefixes  to  his  i8th  Emblem 
(edition  1596),  "  QVIBVS  REBVS  CONFIDIMVS,  IIS  MAXIME  EVER- 
TIMVS," — To  whatever  things  we  trust,  by  them  chiefly  are  we 
overthrown.  The  subject  is  Milo  caught  in  the  cleft  of  the  tree 
which  he  had  riven  by  his  immense  strength;  he  is  held  fast, 
and  devoured  by  wolves. 

The  application  of  Beza's  Emblem  is  made  by  Hamlet  (act  iii. 
sc.  4,  1.  205,  vol.  viii.  p.  117),  during  the  long  interview  with  his 
mother,  just  after  he  had  said, — 


SECT.  V.]  EMBLEMS    WITH    PROVERBS.  345 

"  No,  in  despite  of  sense  and  secrecy, 
Unpeg  the  basket  on  the  house's  top,  * 
Let  the  birds  fly,  and  like  the  famous  ape, 
To  try  conclusions,  in  the  basket  creep, 
And  break  your  own  neck  down." 

Then  speaking  of  his  plot  and  of  the  necessity  which  marshals 
him  to  knavery,  he  adds, — 

"  Let  it  work  ; 

For  'tis  the  sport  to  have  the  enginer 
Hoist  with  his  own  petar  :  and 't  shall  go  hard 
But  I  will  delve  one  yard  below  their  mines, 
And  blow  them  at  the  moon  :  O,  'tis  most  sweet 
When  in  one  line  two  crafts  directly  meet." 

*  In  Johnson's  and  Steeven's  Shakespeare  (edition  1785,  vol.  x.  p.  434)  the  passage 
is  thus  explained,  "  Sir  John  Suckling,  in  one  of  his  letters,  may  possibly  allude  to 
this  same  story.  '  It  is  the  story  of  the  jackanapes  and  the  partridges  ;  thou  starest 
after  a  beauty  till  it  is  lost  to  thee,  and  then  let'st  out  another,  and  starest  after  that 
till  it  is  gone  too.'  " 


Horapollo,  ed.  1551. 


Y   Y 


CLASSIFICA  TION. 


[CHAP.  VI. 


SECTION   VI. 

EMBLEMS    FROM    FACTS    IN  NATURE,    AND    FROM    THE 
PROPERTIES    OF    ANIMALS. 


MBLEM  writers  make  the  Nattiral,  one 
of  the  divisions  of  their  subject,  and  un- 
derstand by  it,  in  Whitney's  words,  the 
expressing  of  the  natures  of  creatures, 
for  example,  "the  loue  of  the  yonge 
Storkes  to  the  oulde,  or  of  such  like." 
We  shall  extend  a  little  the  application 
of  the  term,  taking  in  some  facts  of  nature,  as  well  as  the  natural 
properties  and  qualities  of  animals,  but  reserving  in  a  great 
degree  the  Poetry,  with  which  certain  natural  things  are  invested, 
for  the  next  general  heading,  "  Emblems  for  Poetic  Ideas." 

There  is  no  need  to  reproduce  the  Device  of  Prometheus 
bound,  but  simply  to  refer  to  it,  and  to  note  the  allusions  which 
Shakespeare  makes  to  the  mountain  where  the  dire  penalty  was 
inflicted,  "the  frosty  Caucasus."  From  the  Titus  Andronicus  we 
have  already  (p.  268)  spoken  of  Tamora's  infatuated  love, — 

"  faster  bound  to  Aaron's  charming  eyes 
Than  is  Prometheus  ty'd  on  Caucasus." 

John  of  Gaunt,  Duke  of  Lancaster,  endeavours,  in  Richard  II. 
(act  i.  sc.  3,  lines  275,  294,  vol.  iv.  pp.  130,  131),  to  reconcile  his 
son  Henry  Bolingbroke  to  the  banishment  which  was  decreed 
against  him,  and  urges,— 


SECT.  VI.]  FACTS    AND    PROPERTIES.  347 

"  All  places  that  the  eye  of  heaven  visits 
Are  to  a  wise  man  ports  and  happy  havens. 
Teach  thy  necessity  to  reason  thus  ; 
There  is  no  virtue  like  necessity. 
Think  not  the  king  did  banish  thee, 
But  thou  the  king." 

Bolingbroke,  however,  replies, — 

"  O,  who  can  hold  a  fire  in  his  hand 
By  thinking  on  the  frosty  Caucasus  ?  " 

The  indestructibility  of  adamant  by  force  or  fire  had  for  ages 
been  a  received  truth. 


QVEM    NVLLA    PERICVLA,    TERRENT. 


Le  Bey  He  Bat  illy,  1596. 

"  Whom  no  dangers  terrify,"  is  a  fitting  motto  for  the 
Emblem  that  pertains  to  such  as  fear  nor  force  nor  fire. 

Speaking  of  the  precious  gem  that  figures  forth  their  charac- 
ter, it  is  the  remark  of  Lebeus-Batillius  (Emb.  29),  "Duritia 
inenarrabilis  est,  simulque  ignium  victrix  natura  &  nunquam 
incalescens," — for  which  we  obtain  a  good  English  expression 


348  CLASSIFICATION.  [CHAP.  VI. 

from  Holland's  Pliny  (bk.  xxxvii.  c.  4):  "Wonderfull  and  inen- 
arrable  is  the  hardnesse  of  a  diamant ;  besides  it  hath  a  nature  to 
conquer  the  fury  of  fire,  nay,  you  shall  never  make  it  hote." 
The  Latin  stanzas  in  illustration  close  with  the  lines, — 

"  Qualis,  non  Adamas  ullo  contunditur  ictu, 
Vique  suaferri  duritiem  super  at? 

i.e.  "  As  by  no  blow  the  Adamant  is  crushed, 

And  by  its  own  force  overcomes  the  hardness  of  iron." 

When  the  great  Talbot  was  released  from  imprisonment 
(i  Henry  VI.,  act  i.  sc.  4,  1.  49,  vol.  v.  p.  20), 'his  companions-in- 
arms on  welcoming  him  back,  inquired,  "  How  wert  thou  enter- 
tained ? "  (1.  39)— 

"  With  scoffs  and  scorns  and  contumelious  taunts. 

In  iron  walls  they  deem'd  me  not  secure  ; 
So  great  fear  of  my  name  'mongst  them  was  spread 
That  they  supposed  I  could  rend  bars  of  steel 
And  spurn  in  pieces  posts  of  adamant." 

The  strong  natural  affection  of  the  bear  for  its  young  obtained 
record  nearly  three  thousand  years  ago  (2  Samuel  xvii.  8), — 
"  mighty  men,  chafed  in  their  minds  "  are  spoken  of  "  as  a  bear 
robbed  of  her  whelps  in  the  field."*  Emblems  delineated  by 
Boissard  and  engraved  by  Theodore  De  Bry  in  1596,  at  Emb. 
43  present  the  bear  licking  her  whelp,  in  sign  that  the  inborn 
force  of  nature  is  to  be  brought  into  form  and  comeliness  by 
instruction  and  good  learning.  At  a  little  later  period,  the 
"  TRONVS  CVPIDINIS,"  or  "  EMBLEMATA  AMATORIA  "  (fol.  2), 
so  beautifully  adorned  by  Crispin  de  Passe,  adopts  the  sentiment, 
Perpolit  incultum  paulatim  tempus  amorem, — that  "  by  degrees 

*  See  a  most  touching  account  of  a  she-bear  and  her  whelps  in  the  Voyage  of 
Discovery  to  the  North  Seas  in  1772,  under  Captain  C.  J.  Phipps,  afterwards  Lord 
Mulgrave. 


SECT.  VI.]  FACTS    AND    PROPERTIES.  349 

time  puts  the  finish,  or  perfectness  to  uncultivated  love."  The 
device  by  which  this  is  shown  introduces  a  Cupid  as  well  as  the 
bear  and  her  young  one, — 


De  Passe,  1596. 

and  is  accompanied  by  Latin  and  French  stanzas, — 

"  Vrsa  novum  fertur  lamb endo  finger e  fcetum 
Paulatim  &»formamt  quce  decet,  ore  dare; 
Sic  dominam,  vt  valde  sic  cruda  sit  asp  era  Amator 
Blanditiis  sensim  mo  lie  t  &  obsequio" 

Pen  a  peu. 

"  Ceste  masse  de  chair,  que  toute  ourse  faonne 
En  la  leschant  se  forme  a  son  commencement. 
Par  seruir :  par  flatter,  par  complaire  en  aymant, 
L'amour  rude  a  1'abord,  a  la  fin  se  fagonne." 

The  sentiment  of  these  lines  finds  a  parallel  in  the  Midsum- 
mer Night's  Dream  (act  i.  sc.  I,  1.  232,  vol.  ii.  p.  206),— 

"  Things  base  and  vile,  holding  no  quantity, 
Love  can  transpose  to  form  and  dignity  : 
Love  looks  not  with  the  eyes,  but  with  the  mind  ; 
And  therefore  is  wing'd  Cupid  painted  blind." 

Perchance,  too,  it  receives  illustration  from  the  praise  accorded 


35° 


CLASSIFICATION.  [CHAP.  VI. 


to  the   young  Dumain  by  Katharine,  in  Loves  Labours  Lost 
(act  ii.  sc.  I,  1.  56,  vol.  ii.  p.  114),— 

"  A  well  accomplished  youth, 
Of  all  that  virtue  love  for  virtue  loved  : 
Most  power  to  do  most  harm,  least  knowing  ill ; 
For  he  hath  wit  to  make  an  ill  shape  good, 
And  shape  to  win  grace,  though  he  had  no  wit." 

To  the  denial  of  natural  affection  towards  himself  Glou- 
cester (3  Henry  VI. >  act  iii.  sc.  2,  1.  153,  vol.  v.  p.  284) 
deemed  it  almost  a  thing  impossible  for  him  to  "  make  his 
heaven  in  a  lady's  lap," — 

"  Why,  love  forswore  me  in  my  mother's  womb  : 
And,  for  I  should  not  deal  in  her  soft  laws, 
She  did  corrupt  frail  nature  with  some  bribe, 
To  shrink  mine  arm  up  like  a  wither'd  shrub  ; 
To  make  an  envious  mountain  on  my  back, 
Where  sits  deformity  to  mock  my  body  ; 
To  shape  my  legs  of  an  unequal  size  ; 
To  disproportion  me  in  every  part, 
Like  to  a  chaos,  or  an  unlick'd  bear-whelp 
That  carries  no  impression  like  the  dam." 

Curious  it  is  to  note  how  slowly  the  continent  which 
Columbus  discovered  became  fully  recognised  as  an  inte- 
gral portion  of  what  had  been  denominated,  ?/  ouovjueVry, 
— "  the  inhabited  world."  The  rotundity  of  the  earth  and 
of  the  water  was  acknowledged,  but  Brucioli's  "  TRATTATO 
BELLA  SPHERA,"  published  at  Venice,  D.M.XLIIL,  maintains 
that  the  earth  is  immovable  and  the  centre  of  the  uni- 
verse ;  and  in  dividing  the  globe  into  climates,  it  does  not 
take  a  single  instance  except  from  what  is  named  the 
old  world  ;  in  fact,  the  new  world  of  America  is  never  men- 
tioned. 

Somewhat    later,    in    1564,   when    Sambucus    published    his 


SECT.  VI. ] 


FACTS    AND    PROPERTIES. 


Emblems,  and  presented  Symbols  of  the  parts  of  the  Inhabited 
Earth,  he  gave  only  three  ;  thus  (p.  1 13), — 


Partium  TTJS  oiKov/j.wris  fymbola. 


Sambucus,  1564. 

EST  regio  qtueuis  climate  certo 
A  ere  diftinfla,  &  commoditate. 
^ualibet  hand  quiduis  terra  feretque. 
Africa  monflrofa  eftfemper  habendo 
Antea  quod  nemo  wider  at  'vfquam. 
Pert  AJia  immanes  frigidiore 
Nempefolo  apros,  &  nimbigera  evrfos  : 
Sed  reliquas  <vincit  <viribus  omnes 
Belua,  quam  Europe  temperat  a'e'r. 
Taurus  <vt  ejlfortis,  bufalus  <vna. 
Ergo  Jit  Europe  taurus  alumnus, 
Africa  at  injigne  Jitque  Chimara. 
Sint  AJi#  immites  <vrfus,  aperque. 

The  Bull  is  thus  set  forth  as  the  alummis,  or  nursling  of 
Europe ;  of  Africa  the  Chimaera  is  the  ensign  ;  and  to  Asia 
belong  the  untamed  Bear  and  Boar  ;  America  and  the  broad 


3  5  2  CLASSIFICA  TION.  [CHAP.  VI. 

Pacific,  from    Peru  to  China,  have  neither  token    nor  locality 
assigned. 

Shakespeare's  geography,  however,  though  at  times  very 
defective,  extended  further  than  its  "symbols"  by  Sambucus. 
In  the  humorous  mapping  out,  by  Dromio  of  Syracuse,  of  the 
features  of  the  kitchen-wench,  who  was  determined  to  be  his 
wife  (Comedy  of  Errors,  act  iii.  sc.  2,  1.  131,  vol.  i.  p.  429),  the 
question  is  asked, — 

"Ant.  S.  Where  America,  the  Indies? 

Dro.  S.  Oh,  sir,  upon  her  nose,  all  o'er  embellished  with  rubies,  car- 
buncles, sapphires,  declining  their  rich  aspect  to  the  hot  breath  of  Spain." 

In  Twelfth  Night  (act  iii.  sc.  2,  1.  73,  vol.  iii.  p.  271)  Maria 
thus  describes  the  love-demented  steward,— 

"  He  does  smile  his  face  into  more  lines  than  is  in  the  new  map  with  the 
augmentation  of  the  Indies  ;  you  have  not  seen  such  a  thing  as  'tis." 

And  in  the  Merry  Wives  of  Windsor  (act  i.  sc.  3,  1.  64,  vol.  i. 
p.  177),  Sir  John  Falstaff  avers  respecting  Mistress  Page  and 
Mistress  Ford, — 

"  I  will  be  cheaters  to  them  both,  and  they  shall  be  exchequers  to  me  ; 
they  shall  be  my  East  and  West  Indies,  and  I  will  trade  to  them  both." 

Yet  in  agreement  with  the  map  of  Sambucus,  with  the  three 
capes  prominent  upon  it,  of  Gibraltar  Rock,  the  Cape  of  Good 
Hope,  and  that  of  Malacca,  Shakespeare  on  other  occasions 
ignores  America  and  all  its  western  neighbours.  At  the  consul- 
tation by  Octavius,  Antony,  and  Lepidus,  about  the  division  of 
the  Roman  Empire  (Julius  Ccesar,  act  iv.  sc.  i,  1.  12,  vol.  vii. 
p.  384),  Antony,  on  the  exit  of  Lepidus,  remarks,— 

"  This  is  a  slight  unmeritable  man, 
Meet  to  be  sent  on  errands  :  is  it  fit, 
The  three-fold  world  divided,  he  should  stand 
One  of  the  three  to  share  it  ? " 


TRATTATO  DELIA  SPHERA, 
nclquale  fidimoftranOjfic  infegnanoi 


principii  dellaaftrologia  raccolto  da 

IGiouannidi  Sacrobufto ,  flc  altri 

Aftronomi ,  8c  tradotto  in 

lingua  Italiana. 


PER   ANTONIO  BRVCIQLL 


ET  CON  NVOVE  ANNOTA^ 
tioniinpiu  luoghi  dichiarato. 


InVenetianel.     D.    M.    XLIII. 


/>/•  7,oi6a.cjfrerH-  a   Tiffs  faff   - 


SECT.  VI.]  FACTS    AND    PROPERTIES.  353 

And  when  the  camp  of  Octavius  is  near  Alexandria  (Antony 
and  Cleopatra,  act  iv.  sc.  6,  1.  5,  vol.  ix.  p.  109),  and  orders  are 
issued  to  take  Antony  alive,  Caesar  declares, — 

"  The  time  of  universal  peace  is  near  : 
Prove  this  a  prosperous  day,  the  three-nook'd  world 
Shall  bear  the  olive  freely." 

The  Signs  of  the  Zodiac,  or,  rather,  the  figures  of  the  animals 
of  which  the  zodiac  is  composed,  were  well  known  in  Shake- 
speare's time  from  various  sources  ;  and  though  they  are 
Emblems,  and  have  given  name  to  at  least  one  book  of 
Emblems  that  was  published  in  1618,* — almost  within  the 
limits  to  which  our  inquiries  are  confined, — some  may  doubt 
whether  they  strictly  belong  to  Emblem  writers.  Frequently, 
however,  are  they  referred  to  in  the  dramas  of  which  we  are 
speaking ;  and,  therefore,  it  is  not  out  of  place  to  exhibit  a 
representation  of  them.  This  we  do  from  the  frontispiece  or 
title  page  of  an  old  Italian  astronomical  work  by  Antonio 
Brucioli  (see  Plate  XIII.),  who  was  banished  from  Florence 
for  his  opposition  to  the  Medici,  and  whose  brothers,  in  1532^ 
were  printers  in  Venice.  It  is  not  pretended  that  Shakespeare 
was  acquainted  with  this  title  page,  but  it  supplies  an  appro- 
priate illustration  of  several  astronomical  phenomena  ta  which, 
he  alludes. 

The  zodiac  enters  into  the  description  of  the  advancing  day 
in  Titus  Andronicus  (act  ii.  sc.  I,  1.  5,  vol.  vi.  p.  450),— 

"  As  when  the  golden  sun  salutes  the  morn, 
And,  having-  gilt  the  ocean  with  his  beams, 
Gallops  the  zodiac  in  his  glistering  coach, 
And  overlooks  the  highest-peering  hills  ; 
So  Tamora. 

Upon  her  wit  doth  earthly  honour  wait, 
And  virtue  stoops  and  trembles  at  her  frown." 


*   "Zodiacvs  Christianvs,  seu  signa  12,  diuince  Pradestinationis,  &c\,  a  Kaphaele 
Sadelero,  I2mo,  p.  126,  Monaci  CD.  DCXVIH." 

7.  7, 


354  CLASSIFICATION.  [CHAP.  VI. 

It  also  occupies  a  place  in  a  homely  comparison  in  Measure 
for  Measure  (act  i.  sc.  2,  1.  158,  vol.  i.  p.  303),  to  point  out  the 
duration  of  nineteen  years,  or  the  moon's  cycle, — 

"  This  new  governor 
Awakes  me  all  the  enrolled  penalties 
Which  have,  like  unscour'd  armour,  hung  by  the  wall 
So  long,  that  nineteen  zodiacs  have  gone  round, 
And  none  of  them  been  worn  ;  and  for  a  name 
Now  puts  the  drowsy  and  neglected  act 
Freshly  on  me  :  'tis  surely  for  a  name." 

The  archery  scene  in  Titus  Andronicus  (act  iv.  sc.  3,  1.  52, 
vol.  vi.  p.  501)  mentions  several  of  the  constellations  and  the 
figures  by  which  they  were  known.  The  dialogue  is  between 
Titus  and  Marcus, — 

"  Tit.  You  are  a  good  archer,  Marcus  ; 

[He  gives  them  the  arrows. 

'  Ad  Jovem,'  that's  for  you  :  here,  '  Ad  Apollinem  : ' 

'  Ad  Martem,'  that's  for  myself : 

Here,  boy,  to  Pallas  :  here,  to  Mercury  : 

To  Saturn,  Caius,  not  to  Saturnine  ; 

You  were  as  good  to  shoot  against  the  wind. 

To  it,  boy  !     Marcus,  loose  when  I  bid. 

Of  my  word,  I  have  written  to  effect  ; 

There's  not  a  god  left  unsolicited. 

Marc.  Kinsmen,  shoot  all  your  shafts  into  the  court : 
We  will  afflict  the  emperor  in  his  pride. 

Tit.  Now,  masters,  draw.    \They  shoot.]   O,  well  said,  Lucius  ! 
Good  boy,  in  Virgo's  lap  ;  give  it  Pallas. 

Marc.  My  Lord,  I  aim  a  mile  beyond  the  moon  ; 
Your  letter  is  with  Jupiter  by  this. 

Tit.  Ha,  ha  ! 

Publius,  Publius,  what  hast  thou  done  ? 
See,  see,  thou  hast  shot  off  one  of  Taurus'  horns. 

Marc.  This  was  the  sport,  my  lord  :  when  Publius  shot, 
The  Bull,  being  gall'd,  gave  Aries  such  a  knock 
That  down  fell  both  the  Ram's  horns  in  the  court." 

In    allusion   to   the    old    medico-astrological    idea   that   the 


SECT.  VI.]  FACTS    AND    PROPERTIES.  355 

different  members  of  the  human  body  were  under  the  in- 
fluence of  their  proper  or  peculiar  constellations,  the  following 
dialogue  occurs  in  the  Twelfth  Night  (act  i.  sc.  3,  1.  127, 
vol.  iii.  p.  231),— 

"  Sir  And.  Shall  we  not  set  about  some  revels  ? 

Sir  Toby.  What  shall  we  do  else  ?  were  we  not  born  under  Taurus  ? 
Sir  And.  Taurus  !     That's  sides  and  heart. 

Sir  Toby.  No  sir  ;  it  is  legs  and  thighs.  Let  me  see  thee  caper  :  ha  ! 
higher  :  ha,  ha  !  excellent  ! " 

Falstaff,  in  the  Merry  Wives  of  Windsor  (act  ii.  sc.  2,  1.  5, 
vol.  i.  p.  190),  vaunts  of  the  good  services  which  he  had 
rendered  to  his  companions  :  "  I  have  grated  upon  my  good 
friends  for  three  reprieves  for  you  and  your  coach-fellow  Nym  : 
or  else  you  had  looked  through  the  grate,  like  a  geminy  of 
baboons." 

In  telling  of  the  folly  of  waiting  on  Achilles  (Troilus 
and  Cressida,  act  ii.  sc.  3,  1.  189,  vol.  vi.  p.  175),  Ulysses 
declares, — 

"  That  were  to  enlard  his  fat-already  pride, 
And  add  more  coals  to  Cancer  when  he  burns 
With  entertaining  great  Hyperion." 

The  figure  of  the  ninth  of  the  zodiacal  constellations, 
Sagittarius,  is  named  in  Troilus  and  Cressida  (act  v.  sc.  5, 
1.  ii,  vol.  vi.  p.  253),- 

"  Polixenes  is  slain, 

Amphimachus  and  Thaos  deadly  hurt  ; 
Patroclus  ta'en  or  slain  ;  and  Palamedes 
Sore  hurt  and  bruised  :  the  dreadful  sagittary 
Appals  our  number." 

If  it  be  demanded  why  we  do  not  give  a  fuller  account  of 
these  constellations,  we  may  almost  remark  as  the  fool  does 


356  CLASSIFICATION.  [CHAP.  VI. 

in  King  Lear  (act  i.  sc.  5,  1.  33,  vol.  viii.  p.  295), — "  The  reason 
why    the    seven    stars    are    no    more    than   seven,   is   a    pretty 

reason. 

Lear.  Because  they  are  not  eight  ? 

Fool.  Yes,  indeed  :  thou  wouldst  make  a  good  fool." 

How  soon  the  American  bird,  which  we  name  a  Turkey, 
was  known  in  England,  is  in  some  degree  a  subject  of 
conjecture.  It  has  been  supposed  that  its  introduction  into 
this  country  is  to  be  ascribed  to  Sebastian  Cabot,  who  died 
in  1557,  and  that  the  year  1528  is  the  exact  time;  but  if  so, 
it  is  strange  that  the  bird  in  question  should  not  have  been 
called  by  some  other  name  than  that  which  indicates  a 
European  or  an  Asiatic  origin.  Coq  dTnde,  or  Poule  dTnde, 
Gallo  dTndia,  or  Gallina  d'lndia,  the  French  and  Italian 
names,  point  out  the  direct  American  origin,  as  far  as  France 
and  Italy  are  concerned  ;  for  we  must  remember  that  the 
term  India,  at  the  early  period  of  Spanish  discovery,  was 
applied  to  the  western  world.  But  most  probably  the  Turkey 
fleet  brought  the  bird  into  England,  by  way  of  Cadiz  and 
Lisbon,  and  hence  the  name ;  and  hence  also  the  reasonable- 
ness of  supposing  that  its  permanent  introduction  into  this 
country  was  not  so  early  as  the  time  of  Cabot  A  general 
knowledge  of  the  bird  was  at  any  rate  spread  abroad  in 
Europe  soon  after  the  middle  of  the  sixteenth  century,  for 
we  find  it  figured  in  the  Emblem-books  ;  one  of  which, 
Freitag's  Mythologia  Ethica,  in  1579,  p.  237,  furnishes  a  most 
lively  and  exact  representation  to  illustrate  "  the  violated  right 
of  hospitality."  * 


*  See  also  the  Emblems  of  Camerarius  (pt.  iii.  edition   1596,    Emb.   47),   where 
the  turkey  is  figured  to  illustrate  "  RABIE  SVCCENSA  TVMESCIT,"— Being  angered  it 

swells  with  rage. 

"  Qiiain  deforme  ntalnm  ferventt  nccensn  furore 
Ira  sit,  iratis  Indica  monstrat  avis," — 

"  How  odious  an  evil  to  the  violent  anger  may  be 

Inflamed  to  fury, — the  Indian  bird  shows  to  the  angry." 


SECT.  VI.]  FACTS    AND    PROPERTIES. 

4 

lus  hofpitalitatis  violatum. 


357 


P'reitag,  1579. 

Si  habitauerit  aducna  in  terra  <veftra,  &  moratus  fuerit  inter  <vos,  non  exprobretis  ci, 

»  Lev.  19.  33. 

i.e.    "  And  if  a  stranger  sojourn  with  thee  in  your  land,  ye  shall  not  vex  him." 

Shakespeare,  no  doubt,  was  familiarly  acquainted  with  the 
figure  and  habits  of  the  Turkey,  and  yet  may  have  seized  for 
description  some  of  the  expressive  delineations  and  engravings 
which  occur  in  the  Emblem  writers.  Freitag's  turkey  he 
characterises  with  much  exactness,  though  the  sentiment  ad- 
vanced is  more  consistent  with  the  lines  from  Camerarius.  In 
the  Twelfth  Night  (act  ii.  sc.  5,  lines  15,  27,  vol.  iii.  p.  257), 
Malvolio,  as  his  arch-tormenter  Maria  narrates  the  circumstance, 
"  has  been  yonder  i'  the  sun  practising  behaviour  to  his  own 
shadow  this  half  hour ; "  he  enters  on  the  scene,  and  Sir  Toby 
says  to  Fabian,  "  Here's  an  overweening  rogue !  "  to  which  the 


358  CLASSIFICATION.  [CHAP.  VI. 

reply  is  made,  "  O  peace  !  Contemplation  makes  a  rare 
turkey-cock  of  him  ;  how  he  jets  under  his  advancing 
plumes!" 

The  same  action  is  well  hit  off  in  showing  the  bearing  of  the 
"pragging  knave,  Pistol,"  as  Fluellen  terms  him  (Henry  V., 
act  v.  sc.  i,  1.  13,  vol.  iv.  p.  591),— 

"  Gow.  Why  here  he  comes,  swelling  like  a  turkey-cock. 
Flu.  'Tis  no  matter  for  his  swellings,  nor  his  turkey-cocks.     God  pless 
you,  Aunchient  Pistol !  you  scurvy,  lousy  knave,  God  pless  you  !  " 

Referring  again  to  the  "  Prometheus  ty'd  on  Caucasus,"  the 
Vulture  may  be  accepted  as  the  Emblem  of  cruel  retribution. 
So  when  Falstaff  expresses  his  satisfaction  at  the  death  of 
Henry  IV.  (2nd  part,  act  v.  sc.  3,  1.  134,  vol.  iv.  p.  474),  "Blessed 
are  they  that  have  been  my  friends  ;  and  woe  to  my  lord  chief- 
justice  ;  "  Pistol  adds,— 

"  Let  vultures  vile  seize  on  his  lungs  also ! " 

And  Lear,  telling  of  the  ingratitude  of  one  of  his  daughters 
(King  Lear,  act  ii.  sc.  4,  1.  129,  vol.  viii.  p.  320),  says, — 

"  Beloved  Regan, 

Thy  sister's  naught :  O  Regan,  she  hath  tied 
Sharp-tooth'd  unkindness,  like  a  vulture,  here." 

A  remarkable  instance  of  similarity  between  Whitney  and 

Shakespeare  occurs  in  the  de- 
scriptions which  they  both  give 
of  the  Commonwealth  of  Bees. 
Whitney,  it  may  be,  borrowed 
his  device  (p.  200)  from  the  "HlE- 
ROGLYPHICA"  of  Horus  Apollo 
(edition  1551,  p.  87),  where  the 
question  is  asked,  TI&s  \abv  r^iQ^vi 

551.  paai\€l  J— 


SECT.  VI.]  FACTS    AND    PROPERTIES.  359 

"  How  to  represent  a  people  obedient  to  their  king?  They  depict  a  BEE, 
for  of  all  animals  bees  alone  have  a  king,  whom  the  crowd  of  bees  follow, 
and  to  whom  as  to  a  king  they  yield  obedience.  It  is  intimated  also,  as  well 
from  the  remarkable  usefulness  of  honey  as  from  the  force  which  the  animal 
has  in  its  sting,  that  a  king  is  both  useful  and  powerful  for  carrying  on  their 
affairs." 

It  is  worthy  of  remark  that  several,  if  not  all,  of  the  Greek 
and  Roman  authors  name  the  head  of  a  hive  not  a  queen  but  a 
king.  Plato,  in  his  Politics  (Francfort  edition,  1602,  p.  5  5  /A), 
writes,  — 

"  Ni/f  Se  ye  ftre  OVK  Hern  yiyv6p.evos,  us  fify  <f)a/j.ev,  ev  rous  ir6\e(n  j8o<rtAeus,  oTos  ev 
6,  re  ffwfjia  evdvs  /cat  rfy     UV  8ta>e'a>»'  "  K.  r.  A. 


"  There  is  not  born,  as  we  say,  in  cities  a  king  such  as  is  naturally  pro- 
duced in  hives,  decidedly  differing  both  in  body  and  soul." 

Xenophon's  Cyrop&dia  (bk.  v.  c.   i,    §    23)    declares   of    his 
hero,  — 


BairtAet/s  fjifv  yap  epoiye  SoxeTs  <rv  tyvffti  irefyvKeva.it  ovfev  ?ITTOV  $  6  eV  rep  <r/j.TJvei 


"  Thou  seemest  to  me  to  have  been  formed  a  king  by  nature,  no  less 
than  he  who  in  the  hive  is  formed  general  of  the  bees." 

In  his  Georgics  Virgil  always  considers  the  chief  bee  to  be  a 
king,  as  iv.  75,— 

"  Et  circa  regem  atque  ipsa  ad  prsetoria  densae 
Miscentur,  magnisque  vocant  clamoribus  hostem."  * 

*  See  also  other  passages  from  the  Georgics,  — 

"  Ut,  cum  prima  novi  ducent  examina  reges 
Vere  suo."  iv.  21. 

"  Sin  autem  ad  pugnam  exierint,  nam  sa^pe  duobus 

Regibus  incessit  magno  discordia  motu."  iv.  67. 

Description  of  the  kings  (iv.  87  —  99),  — 

"  tu  regibus  alas 
Eripe."  iv.  106. 

And,— 

"ipsse  regem  parvosque  Quirites 
Sufficiunt,  aulasque  et  cerea  regna  rcfingunt."  iv.  201. 


360 


CLASSIFICA  T1ON. 


[CHAP.  VI. 


"  And  thick  around  the  king,  and  before  the  royal  tent 
They  crowd,  and  with  mighty  din  call  forth  the  foe." 

Alciat's  I48th  Emblem  (edition  1581,  p.  528,  or  edition 
1551,  p.  161)  sets  forth  the  clemency  of  a  prince;  but  the 
description  relates  to  wasps,  not  bees, — 


Principis  dementia. 


Alciat,  1551. 

Vefyaru  quod  nulla  <unquam  Rexfpiculajiget  : 

^uo^ijj  aliis  duplo  corpore  maior  erlt. 
Arguet  imperium  element,  moderata^  regna, 
i  indicibus  credlta  mra  bonis. 


"  That  the  king  of  the  wasps  will  never  his  sting  infix  ; 

And  that  by  double  the  size  of  body  he  is  larger  than  others, 
This  argues  a  merciful  empire  and  well-ordered  rule, 
And  sacred  laws  to  good  judges  entrusted." 

Whitney's  stanzas  (p.  200),  dedicated  to  "  Richard  Cotton, 
Esquier,"  of  Combermere,  Cheshire,  are  original  writing,  not  a 
translation. 

We  will  take  the  chief  part  of  them  ;  the  motto  being,  "  To 
every  one  his  native  land  is  dear." 


SECT.  VI.] 


FACTS    AND    PROPERTIES. 


361 


P  atria  cuique  char  a. 
To  RICHARDE  COTTON  Efquier. 


Whitney,  1586. 


HE  bees  at  lengthe  retourne  into  their  hiue, 
When  they  haue  suck'd  the  sweete  of  FLORAS  bloomes  ; 
And  with  one  minde  their  worke  they  doe  contriue, 
And  laden  come  with  honie  to  their  roomes  : 
A  worke  of  arte  ;  and  yet  no  arte  of  man, 
Can  worke,  this  worke  ;  these  little  creatures  can. 


The  maister  bee,  within  the  midst  dothe  Hue, 

In  fairest  roome,  and  most  of  stature  is  ; 

And  euerie  one  to  him  dothe  reuerence  giue, 

And  in  the  hiue  with  him  doe  liue  in  blisse  : 

Hee  hath  no  stinge,  yet  none  can  doe  him  harme, 
For  with  their  strengthe,  the  rest  about  him  swarme. 


Lo,  natures  force  within  these  creatures  small, 
Some,  all  the  daye  the  honie  home  doe  beare. 
And  some,  farre  off  on  flowers  freshe  doe  fall, 
Yet  all  at  nighte  vnto  their  home  repaire  : 
And  euerie  one,  her  proper  hiue  doth  knowe 
Althoughe  there  stande  a  thousande  on  a  rowc. 


3  A 


362  CLASSIFICATION.  [CHAP.  VI. 

A  Common-wealthe,  by  this,  is  right  expreste  : 
Bothe  him,  that  rules,  and  those,  that  doe  obaye  : 
Or  suche,  as  are  the  heads  aboue  the  rest, 
Whome  here,  the  Lorde  in  highe  estate  dothe  staye  : 

By  whose  supporte,  the  meaner  sorte  doe  Hue, 

And  vnto  them  all  reuerence  dulie  giue. 

Which  when  I  waied  :  I  call'd  vnto  my  minde 
Your  CVMBERMAIRE,  that  fame  so  farre  commendes  : 
A  stately  seate,  whose  like  is  harde  to  finde, 
Where  mightie  IOVE  the  home  of  plentie  lendes  : 
With  fishe,  and  foule,  and  cattaile  sondrie  flockes, 
Where  christall  springes  doe  gushe  out  of  the  rockes. 

There,  fertile  fieldes  ;  there,  meadowes  large  extende  : 
There,  store  of  grayne  :  with  water,  and  with  wood. 
And,  in  this  place,  your  goulden  time  you  spende, 
Vnto  your  praise,  and  to  your  countries  good  : 

This  is  the  hiue  ;  your  tennaunts,  are  the  bees  : 

And  in  the  same,  haue  places  by  degrees." 

By  the  side  of  these  stanzas  let  us  place  for  comparison  what 
Shakespeare  wrote  on  the  same  subject, — the  Commonwealth  of 
Bees, — and  I  am  persuaded  we  shall  perceive  much  similarity  of 
thought,  if  not  of  expression.  In  Henry  V.  (act  i.  sc.  2,  1.  178, 
vol.  iv.  p.  502),  the  Duke  of  Exeter  and  the  Archbishop  of  Can- 
terbury enter  upon  an  argument  respecting  a  well-governed 

state,— 

"  Exe.  While  that  the  armed  hand  doth  fight  abroad, 
The  advised  head  defends  itself  at  home  ; 
For  government,  though  high  and  low  and  lower, 
Put  into  parts,  doth  keep  in  one  consent, 
Congreeing  in  a  full  and  natural  close, 
Like  music. 

Cant,          Therefore  doth  heaven  divide 
The  state  of  man  in  divers  functions, 
Setting  endeavour  in  continual  motion  : 
To  which  is  fixed,  as  an  aim  or  butt, 
Obedience  :  for  so  work  the  honey-bees, 
Creatures  that  by  a  rule  in  nature  teach 
The  act  of  order  to  a  peopled  kingdom. 


< 


SECT.  VI.]  FACTS    AND    PROPERTIES.  363 

They  have  a  king  *  and  officers  of  sorts  ; 

Where  some,  like  magistrates,  correct  at  home, 

Others,  like  merchants,  venture  trade  abroad, 

Others,  like  soldiers,  armed  in  their  stings, 

Make  boot  upon  the  summer's  velvet  buds, 

Which  pillage  they  with  merry  march  bring  home 

To  the  tent-royal  of  their  emperor  ; 

Who,  busied  in  his  majesty,  surveys 

The  singing  masons  building  roofs  of  gold, 

The  civil  citizens  kneading  up  the  honey, 

The  poor  mechanic  porters  crowding  in 

Their  heavy  burdens  at  his  narrow  gate, 

The  sad-eyed  justice,  with  his  surly  hum, 

Delivering  o'er  to  executors  pale 

The  lazy  yawning  drone." 

Again,  in  the  Troilus  and  Cressida  (act  i.  sc.  3,  1.  75,  vol.  vi. 
p.  144),  Ulysses  draws  from  the  unsuitableness  of  a  general,  as 
he  terms  the  ruling  bee,  over  a  hive,  an  explanation  of  the  mis- 
chiefs from  an  incompetent  commander, — 

"  Troy,  yet  upon  his  basis,  had  been  down, 
And  the  great  Hector's  sword  had  lack'd  a  master, 
But  for  these  instances. 
The  specialty  of  rule  hath  been  neglected  : 
And,  look,  how  many  Grecian  tents  do  stand 
Hollow  upon  this  plain,  so  many  hollow  factions. 
When  that  the  general  is  not  like  the  hive 
To  whom  the  foragers  shall  all  repair, 
What  honey  is  expected  ? " 

The  Dramatist's  knowledge  of  bee-life  appears  also  in  the 
metaphor  used  by  Warwick  (2  Henry  VI.,  act  iii.  sc.  2,  1.  125, 
vol.  v.  p.  1 68), — 

*  At  a  time  even  later   than   Shakespeare's  the  idea  of  a  king-bee  prevailed  ; 
Waller,  the  poet  of  the  Commonwealth,  adopted  it,  as  in  the  lines  to  Zelinda, — 

"  Should  you  no  honey  vow  to  taste 

But  what  the  master-bees  have  placed 

In  compass  of  their  cells,  how  small 

A  portion  to  your  share  will  fall." 

In  Le  Moine's  Devises  Heroiqves  et  Morales  (4to,   Paris,    1649,  p.  8)  we  read,  "  Dii 
courage  &  du  conseil  au  Roy  des  abeilles,"— and  the  creature  is  spoken  of  as  a  male. 


364  CLASSIFICATION.  [CHAP.  VI. 

"  The  commons,  like  an  angry  hive  of  bees, 
That  want  their  leader,  scatter  up  and  down, 
And  care  not  who  they  sting  in  his  revenge." 

In  an  earlier  play,  2  Henry  IV.  (act  iv.  sc.  5,  1.  75,  vol.  iv. 
p.  454),  the  comparison  is  taken  from  the  bee-hive, — 

"  When,  like  the  bee,  culling  from  every  flower 
The  virtuous  sweets, 

Our  thighs  pack'd  with  wax,  our  mouths  with  honey, 
We  bring  it  to  the  hive  ;  and  like  the  bees, 
Are  murdered  for  our  pains." 

In  the  foregoing  extracts  on  the  bee-king,  the  plea  is  inad- 
missible that  Shakespeare  and  Whitney  went  to  the  same 
fountain  ;  for  neither  of  them  follows  Alciatus.  The  two 
accounts  of  the  economy  and  policy  of  these  "  creatures  small  " 
are  almost  equally  excellent,  and  present  several  points  of 
resemblance,  not  to  name  them  imitations  by  the  more  recent 
writer.  Whitney  speaks  of  the  "  Master  bee,"  Shakespeare  of 
the  king,  or  "  emperor,"— both  regarding  the  head  of  the  hive 
not  as  a  queen,  but  a  "  born  king,"  and  holding  forth  the  polity 
of  the  busy  community  as  an  admirable  example  of  a  well- 
ordered  kingdom  or  government. 

The  conclusion  of  Whitney's  reflections  on  those  "  that 
suck  the  sweete  of  FLORA'S  bloomes,"  conducts  to  another 
parallelism  ;  and  to  show  it  we  have  only  to  follow  out  his  idea 
of  returning  home  after  "  absence  manie  a  yeare,"  "  when  happe 
some  goulden  honie  bringes."  Here  is  the  whole  passage 
(p.  201) — 

"  And  as  the  bees,  that  farre  and  neare  doe  straye, 
And  yet  come  home,  when  honie  they  haue  founde  : 
So,  thoughe  some  men  doe  linger  longe  awaye, 
Yet  loue  they  best  their  natiue  countries  grounde. 

And  from  the  same,  the  more  they  absent  bee, 

With  more  desire,  they  wishe  the  same  to  see. 


SECT.  VI.]  FACTS    AND    PROPERTIES.  365 

Euen  so  my  selfe  j  throughe  absence  manie  a  yeare, 
A  straunger  meere,  where  I  did  spend  my  prime. 
Nowe,  parentes  loue  dothe  hale  mee  by  the  eare, 
And  sayeth,  come  home,  deferre  no  longer  time  : 

Wherefore,  when  happe,  some  goulden  honie  bringes  ? 

I  will  retorne,  and  rest  my  wearie  winges. 

Quid.  i.  Pont.  4. 

Quid  melius  Roma  ?  Scythico  quid f rigor e  peius  ? 
Hue  tamen  ex  ilia  barbarus  vrbe  fugit." 

The  parallel  is  from  All's  Well  that  Ends  Well  (act  i.  sc.  2,  1.  58, 
vol.  iii.  p.  119),  when  the  King  of  France  speaks  the  praise  of 
Bertram's  father, — 

"  '  Let  me  not  live/  quoth  he, 
'  After  my  flame  lacks  oil,  to  be  the  snuff 
Of  younger  spirits,  whose  apprehensive  senses 
All  but  new  things  disdain  ;  whose  judgments  are 
Mere  fathers  of  their  garments  ;  whose  constancies 
Expire  before  their  fashions.'     This  he  wish'd  : 
I  after  him  do  after  him  wish  too, 
Since  I  nor  wax  nor  honey  can  bring  home, 
I  quickly  were  dissolved  from  my  hive, 
To  give  some  labourers  room." 

The  noble  art  and  sport  of  Falconry  were  long  the 
recreation,  and,  at  times,  the  eager  pursuit  of  men  of  high 
birth  or  position.  Various  notices,  collected  by  Dr.  Nathan 
Drake,  in  Shakespeare  and  his  Times  (vol.  i.  pp.  255 — 272),  show 
that  Falconry  was — 

"  During  the  reigns  of  Elizabeth  and  James,  the  most  prevalent  and 
fashionable  of  all  amusements  ;  ....  it  descended  from  the  nobility  to  the 
gentry  and  wealthy  yeomanry,  and  no  man  could  then  have  the  smallest 
pretension  to  the  character  of  a  gentleman  who  kept  not  a  cast  of  hawks." 

From  joining  in  this  amusement,  or  from  frequently  witness- 
ing it,  Shakespeare  gained  his  knowledge  of  the  sport  and  of  the 
technical  terms  employed  in  it.  We  do  not  even  suppose  that 


366 


CLASSIFICA  TION. 


[CHAP.  VI. 


our  pictorial  illustration  supplied  him  with  suggestions,  and  we 
offer  it  merely  to  show  that  Emblem  writers,  as  well  as  others, 
found  in  falconry  the  source  of  many  a  poetical  expression.* 
The  Italian  we  quote  from,  Giovio's  "  SENTENTIOSE  IMPRESE" 
(Lyons,  1562,  p.  41),  makes  it  a  mark  "of  the  true  nobility  ;" 
but  by  adding,  "  So  more  important  things  give  place,"  implies 
that  it  was  wrong  to  let  mere  amusement  occupy  the  time  for 
serious  affairs. 


BELLA     VERA. 

NOBILTA\ 


Giovio,  1562. 

Lo  fparbier  fol  tra  piu  falcon  port  at  o, 
Franc  hi  git  fa  pajjar  per  ogni  locot 
Et  par  eke  dlca  alV  huom  trifto  &  da  poco, 
NobiP  e  quel,  cti  e  dl  virtu  dotato. 


*  To  mention  only  Joachim  Camerarius,  edition  1596,  Ex  Volatilibus  (Emb. 
29—34)  5  here  are  no  less  than  five  separate  devices  connected  with  Hawking  or 
Falconry. 


SECT.  VI.]  FACTS    AND    PROPERTIES.  367 

Thus  we  interpret  the  motto  and  the  stanza,— 

"  Many  falcons  the  falconer  carries  so  proud 

Through  every  place  he  makes  them  pass  free  ; 
And  says  to  men  sorrowing  and  of  low  degree, 
Noble  is  he,  who  with  virtue's  endowed." 

Falconers  form  part  of  the  retinue  of  the  drama  (2 
Henry  VI.,  act  ii.  sc.  i,  1.  i,  vol.  v.  p.  132),  and  the  dialogue  at 
St.  Albans  even  illustrates  the  expression,  "  Nobil'  e  quel,  ch'  e 
di  virtu  dotato,"- 

"  Q.  Marg.  Believe  me,  lords,  for  flying  at  the  brook, 
I  saw  not  better  sport  these  seven  years'  day  : 
Yet,  by  your  leave,  the  wind  was  very  high  ; 
And,  ten  to  one,  old  Joan  had  not  gone  out. 

K.  Henry.  But  what  a  point,  my  lord,  your  falcon  made, 
And  what  a  pitch  she  flew  above  the  rest ! 
To  see  how  God  in  all  his  creatures  works  ! 
Yea,  man  and  birds  are  fain  of  climbing  high. 

Suf.  No  marvel,  an  it  like  your  majesty, 
My  lord  protector's  hawks  do  tower  so  well ; 
They  know  their  master  likes  to  be  aloft, 
And  bears  his  thoughts  ^above  his  falcon's  pitch. 

Glo.  My  lord,  'tis  but  a  base  ignoble  mind 
That  mounts  no  higher  than  a  bird  can  soar." 

On  many  other  occasions  Shakespeare  shows  his  familiarity 
with  the  whole  art  and  mysteries  of  hawking.  Thus  Christo- 
phero  Sly  is  asked  (Taming  of  the  Shrew,  Introduction,  sc.  2, 
1.  41,  vol.  iii.  p.  10), — 

"  Dost  thou  love  hawking  ?     Thou  hast  hawks  will  soar 
Above  the  morning  lark." 

And  Petruchio,  after  the  supper  scene,  when  he  had  thrown 
about  the  meat  and  beaten  the  servants,  quietly  congratulates 
himself  on  having  "politicly  began  his  reign"  (act  iv.  sc.  I, 
1.  174,  vol.  iii.  p.  67),— 


368  CLASSIFICATION.  [CHAP.  VI. 

"  My  falcon  now  is  sharp  and  passing  empty, 
And  till  she  stoop  she  must  not  be  full-gorged  ; 
For  then  she  never  looks  upon  her  lure. 
Another  way  I  have  to  man  my  haggard, 
To  make  her  come  and  know  her  keeper's  call, 
That  is,  to  watch  her,  as  we  watch  these  kites 
That  bate  and  beat  and  will  not  be  obedient." 

Touchstone,  too,  in  As  You  Like  It  (act  iii.  sc.  3,  1.  67,  vol.  ii. 
p.  427),  hooking  several  comparisons  together,  introduces  hawk- 
ing among  them  :  "  As  the  ox  hath  his  bow,  sir,  the  horse  his 
curb,  and  the  falcon  her  bells,  so  man  hath  his  desires  ;  and  as 
pigeons  bill,  so  wedlock  will  be  nibbling." 

Also  in  Macbeth  (act  ii.  sc.  4,  1.  10,  vol.  vii.  p.  459),  after 
"  hours  dreadful  and  things  strange,"  so  "  that  darkness  does  the 
face  of  earth  entomb,  when  living  light  should  kiss  it,"  the  Old 
Man  declares, — 

"  'Tis  unnatural, 

Even  like  the  deed  that's  done.     On  Tuesday  last 
A  falcon  towering  in  her  pride  of  place 
Was  by  a  mousing  owl  hawk'd  at  and  kill'd." 

To  renew  our  youth,  like  the  eagle's,  is  an  old  scriptural 
expression  (Psalms,  ciii.  5) ;  and  various  are  the  legends  and 
interpretations  belonging  to  the  phrase.*  We  must  not  wander 
among  these, — but  may  mention  one  which  is  given  by  Joachim 
Camerarius,  Ex  Volatilibus  (Emb.  34),  for  which  he  quotes 
Gesner  as  authority,  how  in  the  solar  rays,  hawks  or  falcons, 
throwing  off  their  old  feathers,  are  accustomed  to  set  right  their 
defects,  and  so  to  renew  their  youth. 


*  Take  an  example  from  the  Paraphrase  in  an  old  Psalter :  "The  ame,"  i.e.  the 
eagle,  "when  he  is  greved  with  grete  elde,  his  neb  waxis  so  gretely,  that  he  may  nogt 
open  his  mouth  and  take  mete  :  bot  then  he  smytes  his  neb  to  the  stane,  and  has  away 
the  slogh,  and  then  he  gaes  til  mete,  and  he  commes  yong  a  gayne.  Swa  Crist  duse 
a  way  fra  us  oure  elde  of  syn  and  mortalite,  that  settes  us  to  ete  oure  brede  in  hevene, 
and  newes  us  in  hym." 


SECT.  VI.] 


FACTS    AND    PROPERTIES. 

RENO VAT A 
IVVENTVS. 


369 


Camerarins,  1596 


Exutviis  'vitil  abjeftis,  decus  indue  refli, 
Adfolem  ut  plumas  accipiter  renovat. 

i.e.  "  Sin's  spoils  cast  off,  man  righteousness  assumes, 

As  in  the  sun  the  hawk  renews  its  plumes." 

The  thought  of  the  sun's  influence  in  renovating  what  is 
decayed  is  unintentionally  advanced  by  the  jealousy  of  Adriana 
in  the  Comedy  of  Errors  (act  ii.  sc.  I,  1.  97,  vol.  i.  p.  411),  when 
to  her  sister  Luciana  she  blames  her  husband  Antipholus  of 

Ephesus, — 

"  What  ruins  are  in  me  that  can  be  found 
By  him  not  ruin'd  ?  then  is  he  the  ground 
Of  my  defeatures.     My  decayed  fair 
A  sunny  look  of  his  would  soon  repair." 

In  the  Cymbeline  (act  i.  sc.  I,  1.  130,  vol.  ix.  p.  167),  Post- 
humus  Leonatus,  the  husband  of  Imogen,  is  banished  with 
great  fierceness  by  her  father,  Cymbeline,  King  of  Britain.  A 

3  B 


37° 


CLASSIFICA  T1ON. 


[CHAP.  VI. 


passage  between  daughter  and  father  contains  the  same  notion 
as  that  in  the  Emblem  of  Camerarius, — 

"  lino.  There  cannot  be  a  pinch  in  death 
More  sharp  than  this  is. 

Cym.  O  disloyal  thing, 

That  shouldst  repair  my  youth,  thou  heap'st 
A  year's  age  on  me  ! " 


Nil  penna,  fed  vfus. 


Paradin,  1562. 


The  action  of  the 
ostrich  in  spreading  out 
its  feathers  and  beating 
the  wind  while  it  runs, 
furnished  a  device  for 
Paradin  (fol.  23),  which, 
with  the  motto,  The 
feather  nothing  but  the 
use,  he  employs  against 
hypocrisy. 

Whitney  (p.  51)  adopts 
motto,  device,  and  mean- 
ing,— 


'  I  "HE  Hippocrites,  that  make  so  great  a  showe, 
-*"     Of  Sanctitie,  and  of  Religion  sounde, 
Are  shaddowes  meere,  and  with  out  substance  goe, 
And  beinge  tri'de,  are  but  dissemblers  founde. 
Theise  are  compar'de,  vnto  the  Ostriche  faire, 
Whoe  spreades  her  winges,  yet  sealdome  tries  the  aire." 


A  different  application  is  made  in  I  Henry  I V.  (act  iv.  sc.  I , 
1.  97,  vol.  iv.  p.  317),  yet  the  figure  of  the  bird  with  outstretching 
wings  would  readily  supply  the  comparison  employed  by  Vernon 
while  speaking  to  Hotspur  of  "  the  nimbled-footed  madcap 
Prince  of  Wales,  and  his  comrades," — 


"  All  furnish'd,  all  in  arms  ; 


SECT.  VI.]  FACTS    AND    PROPERTIES.  371 

All  plumed  like  estridges  that  with  the  wind 
Baited  like  eagles  having  lately  bathed." 

It  must,  however,  be  conceded,  according  to  Douce's  clear 
annotation  (vol.  i.  p.  435),  that  "it  is  by  no  means  certain  that 
this  bird  (the  ostrich)  is  meant  in  the  present  instance."  A  line 
probably  is  lost  from  the  passage,  and  if  supplied  would  only  the 
more  clearly  show  that  the  falcon  was  intended, — "  estrich/'  in  the 
old  books  of  falconry,  denoting  that  bird,  or,  rather,  the  goshawk. 
In  this  sense  the  word  is  used  in  Antony  and  Cleopatra  (act  iii. 

sc.  13,  1.  195,  vol.  ix.  p.  100),— 

"  To  be  furious 

Is  to  be  frighted  out  of  fear  ;  and  in  that  mood 
The  dove  will  peck  the  estridge." 

Though  a  fabulous  animal,  the  Unicorn  has  properties  and 
qualities  attributed  to  it  which  endear  it  to  writers  on  Heraldry 
and  on  Emblems.  These  are  well,  it  may  with  truth  be  said, 
finely  set  forth  in  Reusner's  Emblems  (edition  1581,  p.  60),  where 
the  creature  is  made  the  ensign  for  the  motto,  Faith  undefiled 
victorious. 

Victrix  cafta  fides. 
EMB  L  EM  A    iv. 


Rens.net;  158 


372  CLASSIFICATION.  [CHAP.  VI. 

Afta  pudititice  defenflrix  bellua  :  cornu 

Pnum  quo:  media  fronte,  nigrumc^  gerlt : 
Thefauros  ornans  regum,  precium^  rependens  : 
(Nam  cornu  praefens  hoc  leuat  omne  malum) 
Fraude  capi  nulla,  nulla  valet  arte  <virorum 
Callida :  nee  gladios,  nee  f era  tela  pauet  : 
Solius  in  gremio  requiefcens  Jftonte  puellae  : 
Faeminea  capitur,  ^vicJafopore,  manu, 

i.e.        "  This  creature  of  maiden  modesty  protectress  pure, 

In  the  mid-forehead  bears  one  dark  black  horn, 
Kings'  treasures  to  ornament,  and  equalling  in  worth  : 

(For  where  the  horn  abides,  no  evil  can  be  born). 
Captured  nor  by  guile,  nor  by  crafty  art  of  man, 

Trembling  nor  at  swords  nor  iron  arms,  firm  doth  it  stand  ; 
Of  choice  reposing  in  the  lap  of  a  maiden  alone,* 

Should  sleep  overpower,  it  is  caught  by  woman's  hand." 

A  volume  of  tales  and  wonders  might  be  collected  respect- 
ing the  unicorn  ;  for  a  sketch  of  these  the  article  on  the  subject 
in  the  Penny  Cyclopcedia  (vol.  xxvi.  p.  2)  may  be  consulted. 
There  are  the  particulars  given  which  Reusner  mentions,  and 
the  medical  virtues  of  the  horn  extolled,  f  which,  at  one  time,  it 
is  said,  made  it  so  estimated  that  it  was  worth  ten  times  its 
weight  in  gold.  It  is  remarkable  that  Shakespeare,  disposed  as 
he  was,  occasionally  at  least,  to  magnify  nature's  marvels,  does 
not  dwell  on  the  properties  of  the  unicorn,  but  rather  discredits 
its  existence ;  for  when  the  strange  shapes  which  Prospero 
conjures  up  to  serve  the  banquet  for  Alonso  make  their 
appearance  (Tempest,  act  iii.  sc.  3,  1.  21,  vol.  i.  p.  50),  Sebastian 
avers, — 


*  The  Virgin,  in  Brucioli's  Signs  of  the  Zodiac,  as  given  in  our  Plate  XIII.,  has  a 
unicorn  kneeling  by  her  side,  to  be  fondled. 

*t*  The  wonderful  curative  and  other  powers  of  the  horn  are  set  forth  in  his 
Emblems  by  Joachim  Canierarius,  Ex  Animalibus  Quadmpedibiis(ExdQ.  12,  13  and  14). 
He  informs  us  that  "Bartholomew  Alvianus,  a  Venetian  general,  caused  to  be  in- 
scribed on  his  banner,  I  drive  away  poisons,  intimating  that  himself,  like  a  unicorn 
putting  to  flight  noxious  and  poisonous  animals,  would  by  his  own  warlike  valour 
extirpate  his  enemies  of  the  contrary  factions." 


SECT.  VI.]  FACTS    AND    PROPERTIES.  373 

"  Now  I  will  believe 

That  there  are  unicorns  ;  that  in  Arabia 
There  is  one  tree,  the  phoenix'  throne  ;  one  phoenix 
At  this  hour  reigning  there." 

Timon  of  Athens  (act  iv.  sc.  3,  1.  331,  vol.  vii.  p.  281)  just 
hints  at  the  animal's  disposition  :  "  Wert  thou  the  unicorn,  pride 
and  wrath  would  confound  thee,  and  make  thine  own  self  the 
conquest  of  thy  fury." 

Decius  Brutus,  in  Julius  Ccesar  (act  ii.  sc.  I,  1.  203,  vol.  vii. 
p.  347),  vaunts  of  his  power  to  influence  Caesar,  and  among 
other  things  names  the  unicorn  as  a  wonder  to  bring  him  to 
the  Capitol.  The  conspirators  doubt  whether  Caesar  will 
come  forth  ; — 

"  Never  fear  that :  if  he  be  so  resolved, 
I  can  o'ersway  him  ;  for  he  loves  to  hear 
That  unicorns  may  be  betray'd  with  trees, 
And  bears  with  glasses,  elephants  with  holes, 
Lions  with  toils,  and  men  with  flatterers." 

The  humorous  ballad  in  the  Percy  Reliques  (vol.  iv.  p.  198), 
written  it  is  supposed  close  upon  Shakespeare's  times,  de- 
clares,— 

"  Old  stories  tell,  how  Hercules 

A  dragon  slew  at  Lerna, 
With  seven  heads  and  fourteen  eyes 

To  see  and  well  discern-a  : 
But  he  had  a  club,  this  dragon  to  drub, 
Or  he  had  ne'er  done  it.     I  warrant  ye." 

It  is  curious  that  the  device  in  Corrozet's  Hecatomgraphie  of 
the  Dragon  of  Lerna  should  figure  forth,  in  the  multiplica- 
tion of  processes  or  forms,  what  Hamlet  terms  "the  law's 
delay." 

That  is  the  very  subject  against  which  even  Hercules, — 
"  qu'  aqerre  honneur  par  ses  nobles  conquestes," — is  called  into 


374 


CLASSIFICA  TION. 


[CHAP.  VI. 


requisition  to  rid  men  of  the  nuisance.     We  need  not  quote  in 
full  so  familiar  a  narrative,  and  which  Corrozet  embellishes  with 


Multiplication  de  proces. 


Tout  homm^en  proces  tant  foit  fin, 
Alors  qu'il  penfe  eftre'  a  la  fin, 
II  luy  en  luruient  troys  ou  quatre 
Pour  lefquelz  il  fe  fault  debatre. 


Corrozet,  1540. 

twenty-four  lines  of  French  verses, — but  content  ourselves  with 
a  free  rendering  of  his  quatrain,— 

"  All  clever  though  a  man  may  be  in  various  tricks  of  law, 
Though  he  may  think  unto  the  end,  his  suit  contains  no  flaw, 
Yet  up  there  spring  forms  three  or  four  with  which  he  hardly  copes, 
And  lawyers'  talk  and  lawyers'  fees  dash  down  his  fondest  hopes." 


SECT.  VI.]  FACTS    AND    PROPERTIES.  375 

It  is  not,  however,  with  such  speciality  that  Shakespeare 
uses  this  tale  respecting  Hercules  and  the  Hydra.  On  the 
occasion  serving,  the  questions  may  be  asked,  as  in  Hamlet  (act 
v.  sc.  i,  1.  93,  vol.  viii.  p.  154),  "  Why  may  not  that  be  the  skull 
of  a  lawyer  ?  Where  be  his  quiddities  now,  his  quillets,  his 
cases,  his  tenures,  and  his  tricks  ?  why  does  he  suffer  this  rude 
knave  now  to  knock  him  about  the  sconce  with  a  dirty  shovel, 
and  will  not  tell  him  of  his  action  of  battery  ? " 

But  simply  by  way  of  allusion  the  Hydra  is  introduced  ;  as 
in  the  account  of  the  battle  of  Shrewsbury  (i  Henry  IV.  act  v. 
sc.  4,  1.  25,  vol.  iv.  p.  342),  Douglas  had  been  fighting  with  one 
whom  he  thought  the  king,  and  comes  upon  "  another  king :  " 
"  they  grow,"  he  declares,  "  like  Hydra's  heads." 

In  Othello  (act  ii.  sc.  3,  1.  290,  vol.  vii.  p.  498),  some  time 
after  the  general  had  said  to  him  (1.  238), — 

"  Cassio,  I  love  thee  ; 
But  never  more  be  officer  of  mine,"— 

Cassio  says  to  lago, — 

"  I  will  ask  him  for  my  place  again  ;  he  shall  tell  me  I  am  a  drunkard  ! 
Had  I  as  many  mouths  as  Hydra,  such  an  answer  would  stop  them  all." 

So  of  the  change  which  suddenly  came  over  the  Prince  of 
Wales  (Henry  V.,  act  i.  sc.  i,  1.  35,  vol.  iv.  p.  493),  on  his  father's 
death,  it  is  said, — 

"  Never  Hydra-headed  wilfulness 
So  soon  did  lose  his  seat  and  all  at  once 
As  in  this  king." 

This  section  of  our  subject  is  sufficiently  ample,  or  we  might 
press  into  our  service  a  passage  from  Timon  of  Athens  (act  iv. 
sc.  3,  1.  317,  vol.  vii.  p.  281),  in  which  the  question  is  asked, 
"What  wouldst  thou  do  with  the  world,  Apemantus,  if  it  lay  in 
thy  power  ? "  and  the  answer  is,  "  Give  it  the  beasts,  to  be 
rid  of  the  men." 


376 


CLASSIFICA  TION. 


[CHAP.  VI. 


In  the  wide  range  of  the  pre-Shakespearean  Emblematists 
and  Fabulists  we  might  peradventure  find  a  parallel  to  each 
animal  that  is  named  (1.  324), — 

"  If  thou  wert  the  lion,  the  fox  would  beguile  thee  :  if  thou  wert  the  lamb, 
the  fox  would  eat  thee  :  if  thou  wert  the  fox,  the  lion  would  suspect  thee 
when  peradventure  thou  wert  accused  by  the  ass  :  if  thou  wert  the  ass,  thy 
dulness  would  torment  thee,  and  still  thou  livedst  but  as  a  breakfast  to  the 
wolf:  if  thou  wert  the  wolf,  thy  greediness  would  afflict  thee,  and  oft  thou 

shouldst  hazard  thy  life  for  thy   dinner* wert   thou   a  bear,   thou 

wouldst  be  killed  by  the  horse  :  wert  thou  a  horse,  thou  wouldst  be  seized 
by  the  leopard  :  wert  thou  a  leopard,  thou  wert  german  to  the  lion,  and  the 
spots  of  thy  kindred  were  jurors  on  thy  life  :  all  thy  safety  were  remotion, 
and  thy  defence  absence." 

And  so  may  we  take  warning,  and  make  our  defence  for 
writing  so  much, — it  is  the  absence  of  far  more  that  might  be 
gathered, — 

"  Letting  '  I  dare  not '  wait  upon  *  I  would,' 
Like  the  poor  cat  i'  the  adage." 

Macbeth,  act  i.  sc.  7,  1.  44. 

*  See  the  fable  of  the  Wolf  and  the  Ass  from  the  Dialogues  of  Creatures 
(pp.  53 — 55  of  this  volume). 


Aneau,  1552. 


SECT.  VII.]  POETIC    IDEAS.  377 


SECTION    VII. 

EMBLEMS   FOR    POETIC   IDEAS. 

LTHOUGH  many  persons  may  maintain  that  the 
last  two  or  three  examples  from  the  Naturalist's 
division  of  our  subject  ought  to  be  reserved  as 
Emblems  to  illustrate  Poetic  Ideas,  the  animals 
themselves  may  be  inventions  of  the  imagination,  but  the  pro- 
perties assigned  to  them  appear  less  poetic  than  in  the  instances 
which  are  now  to  follow.  The  question,  however,  is  of  no  great 
importance,  as  this  is  not  a  work  on  Natural  History,  and  a 
strictly  scientific  arrangement  is  not  possible  when  poets'  fancies 
are  the  guiding  powers. 

How  finely  and  often  how  splendidly  Shakespeare  makes  use 
of  the  symbolical  imagery  of  his  art,  a  thousand  instances  might 
be  brought  to  show.  Three  or  four  only  are  required  to  make 
plain  our  meaning.  One,  from  All's  Well  that  Ends  Well  (act 
i.  sc.  i,  1.  76,  vol.  iii.  p.  112),  is  Helena's  avowal  to  herself  of  her 
absorbing  love  for  Bertram, — 

"  My  imagination 

Carries  no  favour  in't  but  Bertram's. 
I  am  undone  :  there  is  no  living,  none, 
If  Bertram  be  away.     'Twere  all  one 
That  I  should  love  a  bright  particular  star 
And  think  to  wed  it,  he  is  so  above  me  : 
In  his  bright  radiance  and  collateral  light 
Might  I  be  comforted,  not  in  his  sphere. 
The  ambition  in  my  love  thus  plagues  itself : 

3  c 


378  CLASSIFICATION.  [CHAP.  VI. 

The  hind  that  would  be  mated  by  the  lion 
Must  die  of  love.     'Twas  pretty,  though  a  plague, 
To  see  him  every  hour  ;  to  sit  and  draw 
His  arched  brows,  his  hawking  eye,  his  curls, 
In  our  heart's  table  ;  heart  too  capable 
Of  every  line  and  trick  of  his  sweet  favour  : 
But  now  he's  gone,  and  my  idolatrous  fancy 
Must  sanctify  his  reliques." 

Another  instance  shall  be  from  Troilus  and  Cressida  (act  iii. 
sc.  3,  1.  145,  vol.  vi.  p.  198).  Neglected  by  his  allies,  Achilles 
demands,  "  What,  are  my  deeds  forgot  ? "  and  Ulysses  pours 
forth  upon  him  the  great  argument,  that  to  preserve  fame  and 
honour  active  exertion  is  continually  demanded, — 

"  Time  hath,  my  lord,  a  wallet  at  his  back 
Wherein  he  puts  alms  for  oblivion, 
A  great-sized  monster  of  ingratitudes  : 
Those  scraps  are  good  deeds  past,  which  are  devour'd 
As  fast  as  they  are  made,  forgot  as  soon 
As  done  :  perseverance,  dear  my  lord, 
Keeps  honour  bright :  to  have  done,  is  to  hang 
Quite  out  of  fashion,  like  a  rusty  mail 
In  monumental  mockery." 

And  so  on,  with  inimitable  force  and  beauty,  until  the  crowning 
thoughts  come  (1.  165),— 

"  Time  is  like  a  fashionable  host 

That  slightly  shakes  his  parting  guest  by  the  hand, 

And  with  his  arms  outstretch'd,  as  he  would  fly, 

Grasps  in  the  comer  :  welcome  ever  smiles, 

And  farewell  goes  out  sighing.     O,  let  not  virtue  seek 

Remuneration  for  the  thing  it  was  ; 

For  beauty,  wit, 

High  birth,  vigour  of  bone,  desert  in  service, 

Love,  friendship,  charity,  are  subjects  all 

To  envious  and  calumniating  time. 

One  touch  of  nature  makes  the  whole  world  kin  ; 

That  all  with  one  consent  praise  new-born  gawds, 

Though  they  are  made  and  moulded  of  things  past, 

And  give  to  dust  that  is  a  little  gilt 

More  laud  than  gilt  o'er-dusted," 


SECT.  VII.] 


POETIC    IDEAS. 


379 


As  a  last  instance,  from  the  Winter's  Tale  (act  iv.  sc.  4,  1.  135, 
vol.  iii.  p.  383),  take  Florizel's  commendation  of  his  beloved 
Perdita,—  «  what  you  do 

Still  betters  what  is  done.     When  you  speak,  sweet, 

I 'Id  have  you  do  it  ever  :  when  you  sing, 

Fid  have  you  buy  and  sell  so,  so  give  alms, 

Pray  so  ;  and,  for  the  ordering  your  affairs, 

To  sing  them  too  :  when  you  do  dance,  I  wish  you 

A  wave  o'  the  sea,  that  you  might  ever  do 

Nothing  but  that ;  move  still,  still  so, 

And  own  no  other  function :  each  your  doing, 

So  singular  in  each  particular, 

Crowns  what  you  are  doing  in  the  present  deeds, 

That  all  your  acts  are  queens." 

Our  Prelude  we  may  take  from  Le  Bey  de  Batilly's  Emblems 
(Francofurti  1596,  Emb.  5 1),  in  which  with  no  slight  zeal  he  cele- 
brates "The  Glory  of  Poets."  For  subject  he  takes  "The  Chris- 
tian Muse"  of  his  Jurisconsult  friend,  Peter  Poppaeus  of  Barraux, 
near  Chambery. 

POETARVM     GLORIA. 


De  Batilly,  1596. 

With  the  sad  fate  of  Icarus,  Le  Bey  contrasts  the  far  different 
condition  of  Poets, — 


38o  CLASSIFICATION.  [CHAP.  VI. 

"  Quos  Phoebus  ad  aurea  cceli 
Limina  sublimis  louis  omnipotentis  in  aula 

Sis  tit,  &°  cetherei  monstrat  commercia  ccetus ; 
Et  sacri  vates  &>  Diuum  cura  vocantur. 

Quos  etiam  snnt  qui  numen  habere  putent." 

i>gm  "  Whom  at  heaven's  golden  threshold, 

Within  the  halls  of  lofty  Jove  omnipotent 
Phoebus  doth  place,  and  to  them  clearly  shows 
The  intercourses  of  ethereal  companies. 
Both  holy  prophets  and  the  care  of  gods 
Are  poets  named  ;  and  those  there  are  who  think 
That  they  possess  the  force  of  power  divine." 

In  vigorous  prose  Le  Bey  declares  "their  home  of  glory  is 
the  world  itself,  and  for  them  honour  without  death  abides." 
Then  personally  to  his  friend  Poppaeus  he  says, — 

"  Onward,  and  things  not  to  be  feared  fear  not  thou,  who  speakest 
nothing  little  or  of  humble  measure,  nothing  mortal.  While  the  pure 
priest  of  the  Muses  and  of  Phoebus  with  no  weak  nor  unpractised  wing 
through  the  liquid  air  as  prophet  stretches  to  the  lofty  regions  of  the  clouds. 
Onward,  and  let  father  Phoebus  himself  bear  thee  to  heaven." 

Now  by  the  side  of  Le  Bey's  laudatory  sentences,  may  be 
placed  the  Poet's  glory  as  sung  in  the  Midsummer  Nights 
Dream  (act  v.  sc.  I,  1.  12,  vol.  ii.  p.  258),— 

"  The  poet's  eye,  in  a  fine  frenzy  rolling, 
Doth  glance  from  heaven  to  earth,  from  earth  to  heaven  ; 
And  as  imagination  bodies  forth 
The  forms  of  things  unknown,  the  poet's  pen 
Turns  them  to  shapes,  and  gives  to  airy  nothing 
A  local  habitation  and  a  name." 

The  Swan  of  silvery  whiteness  may  have  been  the  heraldic 
badge  of  the  Poets,  but  that  "  bird  of  wonder,'"  the  Phoenix, 
which,—  «  Left  sweete  Arabie  . 

And  on  a  Ccedar  in  this  coast 
Built  vp  her  tombe  of  spicerie,"  * — 

See  p.  ii  of  J.  Payne  Collier's  admirably  executed  Reprint  of  "  THE  PHCENIX 
NEST,"  from  the  original  edition  of  1593. 


SECT.  VII.] 


POETIC    IDEAS. 


is  the  source  of  many  more  Poetic  ideas.  To  the  Emblem 
writers  as  well  as  to  the  Poets,  who  preceded  and  followed  the 
time  of  Shakespeare,  it  really  was  a  constant  theme  of  admira- 
tion. 

One  of  the  best  pictures  of  what  the  bird  was  supposed  to  be 
occurs  in  Freitag's  "  MYTHOLOGIA  ETHICA"  (Antwerp,  15/9). 
The  drawing  and  execution  of  the  device  are  remarkably  fine ; 
and  the  motto  enjoins  that  "youthful  studies  should  be  changed 
with  advancing  age,"- 

luuenilia  ftudia  cum  prouectiori 
astate  permutata. 


' '  Deponite  <vos,  jecundum  priftinam  conuerfationem,  veterem  hominem,  qui  cor- 
rumpitur  fecundum  defideria  errori-s" — Ephef.  4.  22. 

After  describing   the  bird,  Freitag  applies  it  as  a  type  of  the 
resurrection  from  the  dead  ;  but  its  special  moral  is, — 


382  CLASSIFICATION.  [CHAP.  VI. 

**  That  ye  put  off  concerning  the  former  conversation  the  old  man,  which 
is  corrupt  according  to  the  deceitful  lusts." 

Ancient  authors,  as  well  as  the  comparatively  modern,  very 
gravely  testify  to  the  lengthened  life,  and  self-renovating  power, 
and  splendid  beauty  of  the  Phcenix.  In  the  "EUTERPE"  of 
Herodotus  (bk.  ii.  73)  we  meet  with  the  following  narra- 
tive, — 


Kal  &\\os  opvis,"  K.  r.  \.  "  There  is  another  sacred  bird,  named  the 
Phcenix,  which  I  myself  never  saw  except  in  picture  ;  for  according  to  the 
people  of  Heliopolis,  it  seldom  makes  its  appearance  among  them,  only 
once  in  every  500  years.  They  state  that  he  comes  on  the  death  of  his 
sire.  If  at  all  like  the  picture,  this  bird  may  be  thus  described  both  in  size 
and  shape.  Some  of  his  feathers  are  of  the  colour  of  gold  ;  others  are  red. 
In  outline  he  is  exceedingly  similar  to  the  Eagle,  and  in  size  also.  This  bird 
is  said  to  display  an  ingenuity  of  contrivance  which  to  me  does  not  seem 
credible  :  he  is  represented  as  coming  out  of  Arabia  and  bringing  with  him 
his  father,  embalmed  in  myrrh,  to  the  temple  of  the  Sun,  and  there  burying 
him.  The  following  is  the  manner  in  which  this  is  done.  First  of  all  he 
sticks  together  an  egg  of  myrrh^as  much  as  he  can  carry,  and  then  if  he  can 
bear  the  burden,  this  experiment  being  achieved,  he  scoops  out  the  egg 
sufficiently  to  deposit  his  'sire  within  ;  next  he  fills  with  fresh  myrrh  the 
opening  in  the  egg,  by  which  the  body  was  enclosed  ;  thus  the  whole  mass 
containing  the  carcase  is  still  of  the  same  weight  The  embalming  being 
completed,  he  transports  him  into  Egypt  and  to  the  temple  of  the  Sun." 

Pliny's  account  is  brief  (bk.  xiii.  ch.  iv.),  — 

"  The  bird  Phoenix  is  supposed  to  have  taken  that  name  from  the  date 
tree,  which  in  Greek  is  called  <£>o?j/i£  ;  for  the  assurance  was  made  me  that  the 
said  bird  died  with  the  tree,  and  of  itself  revived  when  the  tree  again 
sprouted  forth." 

Numerous  indeed  are  the  authorities  of  old  to  the  same  or  a 
similar  purport.  They  are  nearly  all  comprised  in  the  intro- 
ductory dissertation  of  Joachim  Camerarius  to  his  device  of  the 
Phcenix,  and  include^  about  eighteen  classic  writers,  ten  of  the 
Greek  and  Latin  Fathers,  and  three  modern  writers  of  the 
sixteenth  century. 


SECT.  VII.]  POETIC    IDEAS.  383 

Appended  to  the  works  of  Lactantius,  an  eloquent  Christian 
Father  of  the  latter  part  of  the  third  century,  there  is  a  Carmen 
De  P/icenice, — "  Song  concerning  the  Phoenix," — in  elegiac  verse, 
which  contains  very  many  of  the  old  tales  and  legends  of  "  the 
Arabian  bird,"  and  describes  it  as, — 

"  Ipsa  sibiprolest  suus  est pater,  &*  suns  hceres  : 
Nutrix  ipsa  sui,  semper  alumna  sibi" 

"  She  to  herself  offspring  is,  and  her  own  father,  and  her  own  heir  : 
Nurse  is  she  of  herself,  and  ever  her  own  foster  daughter." 

(See  Lactantii  Opera,  studio  Gallcei,  Leyden,  8vo.  1660,  pp. 
904-923.) 

Besides  Camerarius,  there  are  at  least  five  Emblematists 
from  whom  Shakespeare  might  have  borrowed  respecting 
the  Phcenix.  Horapollo,  whose  Hieroglyphics  were  edited 
in  1551;  Claude  Paradin  and  Gabriel  Symeoni,  whose  Heroic 
Devises  appeared  in  1562;  Arnold  Freitag,  in  1579;  Nicholas 
Reusner,  in  1581  ;  Geffrey  Whitney,  in  1586,  and  Boissard,  in 
1588, — these  all  take  the  Phoenix  for  one  of  their  emblems,  and 
give  a  drawing  of  it  in  the  'act  of  self-sacrifice  and  self- 
renovation.  They  make  it  typical  of  many  truths  and 
doctrines, — of  long  duration  for  the  soul,  of  devoted  love  to 
God,  of  special  rarity  of  character,  of  Christ's  resurrection 
from  the  dead,  and  of  the  resurrection  of  all  mankind. 

There  is  a  singular  application  of  the  Phcenix  emblem 
which  existed  before  and  during  Shakespeare's  time,  but  of 
which  I  find  no/  pictorial  representation  until  1633.  It  is  in 
Henry  Hawkins'  rare  volume,  "H  nAP0E^O2,"—  The  Virgin,— 
"  Symbolically  set  forth  and  enriched  with  piovs  devises  and 
emblemes  for  the  entertainement  of  Devovt  Sovles."  This 
peculiar  emblem  bestows  upon  the  bird  two  hearts,  which  are 
united  in  closest  sympathy  and  in  entire  oneness  of  affection  and 
purpose  ;  they  are  the  hearts  of  the  Virgin-Mother  and  her  Son. 


3*4 


CLASSIFIGA  TION. 


[CHAP.   VI, 


Hawkins"  Parthenos,  1633. 

"  T)  Ehold,  how  Death  aymes  with  his  mortal  dart, 
•*-^  And  wounds  a  Phoenix  with  a  twin-like  hart. 
These  are  the  harts  of  Jesus  and  his  Mother 
So  linkt  in  one,  that  one  without  the  other 
Is  not  entire.     They  (sure)  each  others  smart 
Must  needs  sustaine,  though  two,  yet  as  one  hart. 
One  Virgin- Mother,  Phenix  of  her  kind, 
And  we  her  Sonne  without  a  father  find. 
The  Sonne's  and  Mothers  paines  in  one  are  mixt, 
His  side,  a  Launce,  her  soule  a  Sword  transfixt. 
Two  harts  in  one,  one  Phenix  loue  contriues  :  * 
One  wound  in  two,  and  two  in  one  reuiues." 

Whitney's  and  Shakespeare's  uses  of  the  device  resemble 
each  other,  as  we  shall  see,  more  closely  than  the  rest  do, — and 
present  a  singular  coincidence  of  thought,  or  else  show  that  the 
later  writer  had  consulted  the  earlier. 

"  The  Bird  always  alone"  is  the  motto  which  Paradin,  Reus- 
ner,  and  Whitney  adopt.  Paradin  (fol.  53),  informs  us,— 

*  There  are  similar  thoughts  in  Shakespeare's  Phoenix  and  Turtle  (Works,  lines  25 
and  37,  vol.  ix.  p.  671),— 

"  So  they  loved,  as  love  in  twain  And, —  "  Property  was  thus  appalled, 


Had  the  essence  but  in  one  ; 
Two  distincts,  division  none, 
Number  there  in  love  was  slain.'' 


That  the  self  was  not  the  same  ; 
Single  nature's  double  name 
Neither  two  nor  one  was  called.1' 


SECT.  VII.] 


POETIC    IDEAS. 


385 


Vnica  Temper  auis. 


Paradin,  1562. 

Comme  le  Phenix  eft  a  jamais  feul,  &  unique  Oifeau  au  monde  defon  Theo- 
efpece.  Auffifont  les tresbonnes chofes de  merueilleufe  rar'ite,  &  blen  clerfemees.  phrafte. 
Deuife  que  porte  Madame  Alienor  cCAuftriche,  Rome  Douairiere  de  France. 

Le.  "  As  the  Phoenix  is  always  alone,  and  the  only  bird  of  its  kind  in  the 
world,  so  are  very  good  things  of  marvellous  rarity  and  very  thinly  sown.  It  is 
the  device  which  Madam  Elinor  of  Austria  bears,  Queen  Dowager  of  France." 

The  Phoenix  is  Reusner's  36th  Emblem  (bk.  ii.  p.  98),— 

Vnica  femper  auis. 
EMBLEMA     xxxvi. 


Reusner,  1581. 

ute  thuris  lacrymis,  £f /  ucco  <viuit  amoml :  * 
Pert  cunas  Phoenix ',  bufta  paterna,fuas. 


Reusner  adopts  this  first  line  {romOvid'sFal>/e0///ieP/i&mx(Metam.,bk.  xv.  37. 1.  3), 
"  Sed  thuris  lacrymis,  &  succo  vivit  amomi." 

3  u 


386  CLASSIFICATION.  [CHAP.  VI. 

Sixteen  elegiac  lines  of  Latin  are  devoted  to  its  praise 
and  typical  signification,  mixed  with  some  curious  theological 
conjectures, — 

"  On  tears  of  frankincense,  and  on  the  juice  of  balsam  lives 

The  Phoenix,  and  bears  its  cradle,  the  coffin  of  its  sire. 
Always  alone  is  this  bird  ; — itself  its  own  father  and  son, 

By  death  alone  does  it  give  to  itself  a  new  life. 
For  oft  as  on  earth  it  has  lived  the  ten  ages  through, 

Dying  at  last,  in  the  fire  it  is  born  of  its  own  funeral  pile. 
So  to  himself  and  to  his,  Christ  gives  life  by  his  death, 

Life  to  his  servants,  whom  in  equal  love  he  joins  to  himself. 
True  Man  is  he,  the  one  true  God,  arbiter  of  ages, 

Who  illumines  with  light,  with  his  spirit  cherishes  all. 
Happy,  who  by  holy  baptisms  in  Christ  is  reborn, 

In  the  sacred  stream  he  takes  hold  of  life, — in  the  stream  he 
obtains  it." 

And  again,  in  reference  to  the  birth  unto  life  eternal, — 

"  If  men  report  true,  death  over  again  forms  the  Phoenix, 
To  this  bird  both  life  and  death  the  same  funeral  pile  may  prove. 

Onward,  executioners  !  of  the  saints  burn  ye  the  sainted  bodies  ; 
For  whom  ye  desire  perdition,  to  them  brings  the  flame  new  birth." 

Whitney,  borrowing  his  woodcut  and  motto  from  Plantin's 
edition  of  "  LES  DEVISES  HEROIQVES,"  1562,  to  a  very 
considerable  degree  makes  the  explanatory  stanzas  his  own 
both  in  the  conception  and  in  the  expression.  The  chief 
town  near  to  his  birth-place  had  on  December  10,  1583, 
been  almost  totally  destroyed  by  fire,  but  through  the 
munificence  of  the  Queen  and  many  friends,  by  1586,  "the 
whole  site  and  frame  of  the  town,  so  suddenly  ruined,  was 
with  great  speed  re-edified  in  that  beautifull  manner,"  says 
the  chronicler,  "  that  now  it  is."  The  Phoenix  (p.  177)  is 
standing  in  the  midst  of  the  flames,  and  with  outspreading 
wings  is  prepared  for  another  flight  in  renewed  youth  and 
vigour. 


SECT.  VIL] 


POETIC    IDEAS. 


387 


Vnicafemper  auis. 
To  my  countrimen  of  the  Namptwiche  in  Chefshire. 


Whitney,  1586. 

'  I  "HE  Phoenix  rare,  with  fathers  freshe  of  hewe, 
•••    ARABIAS  righte,  and  sacred  to  the  Sonne  : 
Whome,  other  birdes  with  wonder  seeme  to  vewe, 
Dothe  liue  vntill  a  thousande  yeares  bee  ronne  : 

Then  makes  a  pile  :  which,  when  with  Sonne  it  burnes, 
Shee  flies  therein,  and  so  to  ashes  turnes. 

Whereof,  behoulde,  an  other  Phoenix  rare, 
With  speede  dothe  rise  most  beautifull  and  faire  : 
And  thoughe  for  truthe,  this  manie  doe  declare, 
Yet  thereunto,  I  meane  not  for  to  sweare  : 
Althoughe  I  knowe  that  Aucthors  witnes  true, 
What  here  I  write,  bothe  of  the  oulde,  and  newe. 

Which  when  I  wayed,  the  newe,  and  eke  the  oulde, 
I  thought  vppon  your  towne  destroyed  with  fire  : 
And  did  in  minde,  the  newe  NAMPWICHE  behoulde, 
A  spectacle  for  anie  mans  desire  : 
Whose  buildinges  braue,  where  cinders  weare  but  late, 
Did  represente  (me  thought)  the  Phoenix  fate. 

And  as  the  oulde,  was  manie  hundreth  yeares, 
A  towne  of  fame,  before  it  felt  that  crosse  : 
Euen  so,  (I  hope)  this  WICHE,  that  nowe  appeares, 
A  Phoenix  age  shall  laste,  and  knowe  no  losse  : 

Which  GOD  vouchsafe,  who  make  you  thankfull,  all : 
That  see  this  rise,  and  sawe  the  other  fall." 


388  CLASSIFICATION.  [CHAP.  VI. 

The  Concordance  to  Shakespeare,  by  Mrs.  Cowden  Clarke,  for 
thoroughness  hitherto  unmatched,*  notes  down  eleven  instances 
in  which  the  Phoenix  is  named,  and  in  most  of  them,  with 
some  epithet  expressive  of  its  nature.  It  is  spoken  of  as  the 
Arabian  bird,  the  bird  of  wonder  ;  its  nest  of  spicery  is  men- 
tioned ;  it  is  made  an  emblem  of  death,  and  employed  in 
metaphor  to  flatter  both  Elizabeth  and  James. 

Besides  the  instances  already  given  (p.  236),  we  here  select 
others  of  a  general  nature  ;  as  : — When  on  the  renowned  Talbot's 
death  in  battle,  Sir  William  Lucy,  in  presence  of  Charles,  the 
Dauphin,  exclaims  over  the  slain  (i  Hen.  VI.,  act  iv.  sc.  7,  1.  92), — 

"  O  that  I  could  but  call  these  dead  to  life  ! 
It  were  enough  to  fright  the  realm  of  France  : " 

his  request  for  leave  to  give  their  bodies  burial  is  thus  met, — 

"  Pncelle.  I  think  this  upstart  is  old  Talbot's  ghost, 
He  speaks  with  such  a  proud  commanding  spirit. 
For  God's  sake,  let  him  have  'em 

Charles.  Go,  take  their  bodies  hence. 

Lucy.  I'll  bear  them  hence  ;  but  from  their  ashes  shall  be  rear'd 
A  phcenix,  that  shall  make  all  France  afeard." 

And  York,  on  the  haughty  summons  of  Northumberland  and 
Clifford,  declares  (3  Hen.  VI.,  act  i.  sc.  4,  1.  35),-— 

"  My  ashes,  as  the  Phcenix,  may  bring  forth 
A  bird  that  will  revenge  upon  you  all." 

In  the  Phoenix  and  the  Turtle  (lines  21  and  49,  vol.  ix.  p.  671), 

are  the  lines, — 

"  Here  the  anthem  doth  commence  : 
Love  and  constancy  is  dead  ; 
Phcenix  and  the  turtle  fled 
In  a  mutual  flame  from  hence. 

Whereupon  it  made  this  threne 
To  the  phcenix  and  the  dove, 
Co-supremes  and  stars  of  love, 
As  chorus  to  their  tragic  scene." 

*  To  render  it  still  more  useful,  the  words  should  receive  something  of  classifica- 
tion, as  in  Cruden's  Concordance  to  the  English  Bible,  and  the  number  of  the  line 
should  be  given  as  well  as  of  the  Act  and  Scene. 


SECT.  VII.]  POETIC    IDEAS.  389 

The   "threne,"   or   Lamentation  (1.  53,  vol.  ix.  p.  672),  then 

follows, — 

"  Beauty,  truth  and  rarity 
Grace  in  all  simplicity, 
Here  enclosed  in  cinders  lie. 

Death  is  now  the  phoenix'  nest  ; 
And  the  turtle's  loyal  breast 
To  eternity  doth  rest." 

The  Maiden  in  The  Lover's  Complaint  (1.  92,  vol.  ix.  p.  638) 
thus  speaks  of  her  early  love, — 

"  Small  show  of  man  was  yet  upon  his  chin  ; 
His  phcenix  down  began  but  to  appear, 
Like  unshorn  velvet,  on  that  termless  skin, 
Whose  bare  out-bragg'd  the  web  it  seem'd  to  wear." 

Some  of  the  characteristics  of  the  Phoenix  are  adduced  in 
the  dialogue,  Richard  III.  (act  iv.  sc.  4,  L  418,  vol.  v.  p.  606), 
between  Richard  III.  and  the  queen  or  widow  of  Edward  IV. 
The  king  is  proposing  to  marry  her  daughter, — 

"  Q.  Eliz.  Shall  I  be  tempted  of  the  devil  thus  ? 

K.  Rich.  Ay,  if  the  devil  tempt  thee  to  do  good. 

Queen.  Shall  I  forget  myself,  to  be  myself? 

K.  Rich.  Ay,  if  yourself 's  remembrance  wrong  yourself. 

Queen.  But  thou  didst  kill  my  children. 

K.  Rich.  But  in  your  daughter's  womb  I  bury  them  : 
Where  in  that  nest  of  spicery,  they  shall  breed 
Selves  of  themselves,  to  your  recomforture." 

Another  instance  is  from  Antony  and  Cleopatra  (act  iii.  sc.  2, 
1.  7,  vol.  ix.  p.  64).  Agrippa  and  Enobarbus  meet  in  Caesar's 
ante-chamber,  and  of  Lepidus  Enobarbus  declares, — 

"  O  how  he  loves  Caesar  ! 

A  grip.  Nay,  but  how  dearly  he  adores  Marc  Antony  ! 
Enob.  Caesar  ?    Why,  he's  the  Jupiter  of  men. 
Agrip.  What's  Antony  ?     The  god  of  Jupiter. 
Enob.  Speak  you  of  Caesar  ?     How  ?  the  nonpareil  ! 
Agrip.  O  Antony  !     O  thou  Arabian  bird  ! " 


390  CLASSIFICATION.  [CHAP.  VI. 

And  in  Cymbeline  (act  i.  sc.  6,  1.  15,  vol.  ix.  p.  183),  on  being 
welcomed  by  Imogen,  lachimo  says,  aside, — 

"  All  of  her  that  is  out  of  door  most  rich  ! 
If  she  be  furnish'd  with  a  mind  so  rare, 
She  is  alone  th'  Arabian  Bird,  and  I 
Have  lost  the  wager." 

But  the  fullest  and  most  remarkable  example  is  from  Henry 
VIII.  (act  v.  sc.  5,  1.  28,  vol.  vi.  p.  1 14).  Cranmer  assumes  the 
gift  of  inspiration,  and  prophesies  of  the  new-born  child  of  the 
king  and  of  Anne  Bullen  an  increase  of  blessings  and  of  all 

princely  graces, — 

"  Truth  shall  nurse  her, 

Holy  and  heavenly  thoughts  still  counsel  her  : 
She  shall  be  loved  and  fear'd  :  her  own  shall  bless  her  ; 
Her  foes  shake  like  a  field  of  beaten  corn, 
And  hang  their  heads  with  sorrow.     Good  grows  with  her  : 
In  her  days  every  man  shall  eat  in  safety, 
Under  his  own  vine,  what  he  plants,  and  sing 
The  merry  songs  of  peace  to  all  his  neighbours  : 
God  shall  be  truly  known  ;  and  those  about  her 
From  her  shall  read  the  perfect  ways  of  honour, 
And  by  these  claim  their  greatness,  not  by  blood. 
Nor  shall  this  peace  sleep  with  her  ;  but,  as  when 
The  bird  of  wonder  dies,  the  maiden  phcenix, 
Her  ashes  new  create  another  heir, 
As  great  in  admiration  as  herself, 
So  shall  she  leave  her  blessedness  to  one — 
When  heaven  shall  call  her  from  this  cloud  of  darkness — 
Who  from  the  sacred  ashes  of  her  honour 
Shall  star-like  rise,  as  great  in  fame  as  she  was, 
And  so  stand  fix'd." 

There  is  another  bird,  the  emblem  of  tranquillity  and  of 
peaceful  and  happy  days  ;  it  is  the  KING-FISHER,  which  the 
poets  have  described  with  the  utmost  embellishment  of  the 
fancy.  Aristotle  and  Pliny  tell  even  more  marvellous  tales 
about  it  than  Herodotus  and  Horapollo  do  about  the  Phcenix. 

The  fable,  on  which  the  poetic  idea  rests,  is  two-fold  ;  one 
that  Alcyone,  a  daughter  of  the  wind-god  ^Eolus,  had  been 


SECT.  VII.]  POETIC    IDEAS. 


391 


married  to  Ceyx  ;  and  so  happily  did  they  live  that  they  gave 
one  another  the  appellations  of  the  gods,  and  by  Jupiter  in 
anger  were  changed  into  birds  ;  the  other  narrates,  that  Ceyx 
perished  from  shipwreck,  and  that  in  a  passion  of  grief  Alcyone 
threw  herself  into  the  sea.  Out  of  pity  the  gods  bestowed  on 
the  two  the  shape  and  habit  of  birds.  Ovid  has  greatly  enlarged 
the  fable,  and  has  devoted  to  it,  in  his  Metamorphoses  (xi.  10), 
between  three  and  four  hundred  lines.  We  have  only  to  do 
with  the  conclusion, — 

"  The  gods  at  length  taking  compassion 
The  pair  are  transformed  into  birds  ;  tried  by  one  destiny 
Their  love  remained  firm  ;  nor  is  the  conjugal  bond 
Loosened  although  they  are  birds  ;  parents  they  become, 
And  through  a  seven  days'  quietness  in  midwinter 
In  nests  upborne  by  the  sea  the  King-fishers  breed. 
Safe  then  is  the  sea-road  ;  the  winds  ^Eolus  guards, 
Debarring  from  egress  ;  and  ocean's  plain  favours  his  children." 

According  to  Aristotle's  description  (Hist.  Anim.  ix.  14), — 

"  The  nest  of  the  Alcyon  is  globular,  with  a  very  narrow  entrance,  so  that 
if  it  should  be  upset  the  water  would  not  enter.  A  blow  from  iron  has  no 
effect  upon  it,  but  the  human  hand  soon  crushes  it  and  reduces  it  to  powder. 
The  eggs  are  five." 

"  The  halcyones"  Pliny  avers,  "  are  of  great  name  and  much  marked. 
The  very  seas,  and  they  that  saile  thereupon,  know  well  when  they  sit  and 
breed.  This  bird,  so  notable,  is  little  bigger  than  a  sparrow  ;  for  the  more 
part  of  her  pennage,  blew,  intermingled  yet  among  with  white  and  purple 
feathers  ;  having  a  thin  small  neck  and  long  withal  they  lay  and  sit  about 
mid-winter,  when  daies  be  shortest ;  and  the  times  while  they  are  broodie,  is 
called  the  halcyon  daies  ;  for  during  that  season  the  sea  is  calm  and 
navigable,  especially  on  the  coast  of  Sicilie." — Philemon  Holland's  Plinie,  x.  32. 

We  are  thus  prepared  for  the  device  which  Paolo  Giovio  sets 
before  his  readers,  with  an  Italian  four-lined  stanza  to  a  French 
motto,  We  know  well  the  weather.  The  drawing  suggests  that 
the  two  Alcyons  in  one  nest  are  sailing  "  on  the  coast  of  Sicilie," 
in  the  straits  of  Messina,  with  Scylla  arid  Charybdis  on  each 
hand — but  in  perfect  calmness  and  security, — 


392 


CLASSIFICA  TJON. 
DE     I     MEDESIMI. 


[CHAP.  VI. 


Giovio,  1562. 

San  gV  Alcionij  augei  II  tempo  eletto, 

Cti  al  nido,  e  alV  oua  lor  non  nuoca  il  mare. 
Infellce  quell1  huom,  ctfel  di  afpettare 
Not?  fa,  per  dare  alfuo  difegno  effetto. 


Nous  fauons 
bien  le  temps. 


"  Happy  the  Alcyons,  whom  choice  times  defend. 
Nor  in  the  nest  nor  egg  the  sea  can  harm  ; 
But  luckless  man  knows  not  to  meet  alarm, 
Nor  to  his  purpose  gives  the  wished  for  end." 

The  festival  of  Saint  Martin,  or  Martlemas,  is  held  November 
nth,  at  the  approach  of  winter,  and  was  a  season  of  merriment 
and  good  cheer.  It  is  in  connection  with  this  festival  that  Shake- 
speare first  introduces  a  mention  of  the  Alcyon  (i  Henry  VI., 
act  i.  sc.  2, 1.  129,  vol.  v.  p.  14).  The  Maid  of  Orleans  is  propound- 
ing her  mission  for  the  deliverance  of  France  to  Reignier,  Duke 

of  Anjou, — 

"  Assign'd  I  am  to  be  the  English  scourge. 
This  night  the  siege  assuredly  I'll  raise  : 
Expect  Saint  Martin's  summer,  halcyon  days, 
Since  I  have  enter'd  into  these  wars." 


SECT.  VII.] 


POETIC    IDEAS. 


393 


It  was,  and  I  believe  still  is,  an  opinion  prevalent  in  some 
parts  of  England,  that  a  King-fisher,  suspended  by  the  tail  or 
beak,  will  turn  round  as  the  wind  changes.  To  this  fancy,  allu- 
sion is  made  in  King  Lear  (act  ii.  sc.  2,  1.  73,  vol.  viii.  p.  307), — 

"  Renege,  affirm  and  turn  their  halcyon  beaks 
With  every  gale  and  vary,  of  their  masters, 
Knowing  nought,  like  dogs,  but  following." 

The  Poet  delights  to  tell  of  self-sacrificing  love  ;  and  hence  the 
celebrity  which  the  PELICAN  has  acquired  for  the  strong  natural 
affection  which  impels  it,  so  the  tale  runs,  to  pour  forth  the  very 
fountain  of  its  life  in  nourishment  to  its  young.  From  Epiphanius, 
bishop  of  Constantia  in  the  island  of  Cyprus,  whose  Physiologvs 
was  printed  by  Plantin  in  1588,  we  have  the  supposed  natural 
history  of  the  Pelicans  and  their  young,  which  he  symbolizes  in 
the  Saviour.  His  account  is  accompanied  by  a  pictorial  repre- 
sentation, "IIEPI  TH2  IIEAEKANO2,"— Concerning  the  Pelican 
(P-  30). 


Epiphanius,  1588. 


394 


CL  A  SSI  PICA  TION. 


[CHAP.  VI. 


The  good  bishop  narrates  as  physiological  history  the  fol- 
lowing,— 

"  Beyond  all  birds  the  Pelican  is  fond  of  her  young.  The  female  sits  on 
the  nest,  guarding  her  offspring,  and  cherishes  and  caresses  them  and  wounds 
them  with  loving  ;  and  pierces  their  sides  and  they  die.  After  three  days 
the  male  pelican  comes  and  finds  them  dead,  and  very  much  his  heart  is 
pained.  Driven  by  grief  he  smites  his  own  side,  and  as  he  stands  over  the 
wounds  of  the  dead  young  ones,  the  blood  trickles  down,  and  thus  are  they 
made  alive  again." 

Reusner  and  Camerarius  both  adopt  the  Pelican  as  the 
emblem  of  a  good  king  who  devotes  himself  to  the  people's 
welfare.  For  Law  and  for  Flock,  is  the  very  appropriate  motto 
they  prefix  ;  Camerarius  simply  saying  (ed.  1596,  p.  87),— 

"  Sanguine  vivificat  Pelicanus  pignora,  sic  rex 
Pro  popidi  vita  est  prodigus  ipse  sues." 

"  By  blood  the  Pelican  his  young  revives  ;  and  so  a  king 
For  his  people's  sake  himself  of  life  is  prodigal." 

Reusner  (bk.  ii.  p.  73)  gives  the  following  device,— 

Pro  lege,  &•  grege. 
EMBLEMA    xiv. 


Reusner,  1581. 


SECT.  VII.]  POETIC    IDEAS.  395 

And  tells  how,— 

"  Alphonsus  the  wise  and  good  king  of  Naples,  with  his  own  honoured 
hand  painted  a  Pelican  which  with  its  sharp  beak  was  laying  open  its  breast 
so  as  with  its  own  blood  to  save  the  lives  of  its  young.  Thus  for  people,  for 
law,  it  is  right  that  a  king  should  die  and  by  his  own  death  restore  life  to  the 
nations.  As  by  his  own  death  Christ  did  restore  life  to  the  just,  and  with 
life  peace  and  righteousness." 

He  adds  this  personification  of  the  Pelican, — 

"  For  people  and  for  sanctioned  law  heart's  life  a  king  will  pour  ; 
So  from  this  blood  of  mine  do  I  life  to  my  young  restore." 

The  other  motto,  which  Hadrian  Junius  and  Geffrey  Whitney 
select,  opens  out  another  idea,  Quod  in  te  est,  prome, — "  Bring 
forth  what  is  in  thee."  It  suggests  that  of  the  soul's  wealth  we 
should  impart  to  others. 

Junius  (Emb.  7)  thus  addresses  the  bird  he  has  chosen, — 

"  By  often  striking,  O  Pelican,  thou  layest  open  the  deep  recesses  of  thy 
breast  and  givest  life  to  thy  offspring.  Search  into  thine  own  mind  (my 
friend),  seek  what  is  hidden  within,  and  bring  forth  into  the  light  the  seeds 
of  thine  inner  powers." 

And  very  admirably  does  Whitney  (p.  87)  apply  the  senti- 
ment to  one  of  the  most  eminent  of  divines  in  the  reign  of 
Queen  Elizabeth,— namely,  to  Dr.  Alexander  Nowell,  the 
celebrated  Dean  of  St.  Paul's,  illustrious  both  for  his  learning 
and  his  example, — 

"  r  I  ^HE  Pellican,  for  to  reuiue  her  younge, 

Doth  peirce  her  brest,  and  geue  them  of  her  blood  : 
Then  searche  your  breste,  and  as  yow  haue  with  tonge, 
With  penne  proceede  to  doe  our  countrie  good  : 
Your  zeale  is  great,  your  learning  is  profounde, 
Then  helpe  our  wantes,  with  that  you  doe  abounde." 

The  full  poetry  of  the  thoughts  thus  connected  with  the 
Pelican  is  taken  in,  though  but  briefly  expressed  by  Shake- 


396  CLASSIFICATION.  [CHAP.  VI. 

speare.  In  Hamlet  (act  iv.  sc.  5,  1.  135,  vol.  viii.  p.  135),  on 
Laertes  determining  to  seek  revenge  for  his  father's  death,  the 
king  adds  fuel  to  the  flame, — 

"  King.  Good  Laertes, 

If  you  desire  to  know  the  certainty 
Of  your  dear  father's  death,  is't  writ  in  your  revenge, 
That,  swoopstake,  you  will  draw  both  friend  and  foe, 
Winner  and  loser  ? 

Laer.  None  but  his  enemies. 

King.  Will  you  know  them  then  ? 

Laer.  To  his  good  friends  thus  wide  I'll  ope  my  arms  ; 
And  like  the  kind  life-rendering  pelican, 
Repast  them  with  my  blood."  * 

From  Richard  II.  (act  ii.  sc.  I,  1.  120,  vol.  iv.  p.  140)  we  learn 
how  in  zeal  and  true  loyalty  John  of  Gaunt  counsels  his  head- 
strong nephew,  and  how  rudely  the  young  king  replies, — 

"  Now,  by  my  seat's  right  royal  majesty, 
Wert  thou  not  brother  to  great  Edward's  son, 
This  tongue  that  runs  so  roundly  in  thy  head 
Should  run  thy  head  from  thy  unreverent  shoulders. 

Gaunt.  O,  spare  me  not,  my  brother  Edward's  son, 
For  that  I  was  his  father  Edward's  son  ; 
That  blood  already,  like  the  pelican, 
Hast  thou  tapp'd  out  and  drunkenly  caroused." 

The  idea,  indeed,  almost  supposes  that  the  young  pelicans 
strike  at  the  breasts  of  the  old  ones,  and  forcibly  or  thought- 
lessly drain  their  life  out.  So  it  is  in  King  Lear  (act  iii.  sc.  4, 
1.  68,  vol.  viii.  p.  342),  when  the  old  king  exclaims, — 

*  The  whole  stanza  as  given  on  the  last  page,  beginning  with  the  line, — 
"  The  Pellican,  for  to  reuiue  her  younge," 

is  quoted  in  Knight's  "  PICTORIAL  SHAKSPERE"  (vol.  i.  p.  154),  in  illustration  of 
these  lines  from  Hamlet  concerning  "  the  kind  life -rendering  pelican."  The  woodcut 
which  Knight  gives  is  also  copied  from  Whitney,  and  the  following  remark  added,  — 
"Amongst  old  books  of  emblems  there  is  one  on  which  Shakspere  himself  might  have 
looked,  containing  the  subjoined  representation.  It  is  entitled  *  A  Choice  of  Em- 
blemes  and  other  Devices  by  Geffrey  Whitney,  1586.'"  Knight  thus  appears 
prepared  to  recognise  what  we  contend  for,  that  Emblem  writers  were  known  to 
Shakespeare. 


SECT.  VII.]  POETIC    IDEAS.  397 

"  Death,  traitor  !  nothing  could  have  subdued  nature 
To  such  a  lowness  but  his  unkind  daughters. 
Is  it  the  fashion  that  discarded  fathers 
Should  have  thus  little  mercy  on  their  flesh  ? 
Judicious  punishment !  'twas  this  flesh  begot 
Those  pelican  daughters." 

And  again  (2  Henry  VI.,  act  iv.  sc.  I,  1.  83,  vol.  v.  p.  182),  in 
the  words  addressed  to  Suffolk,— 

"  By  devilish  policy  art  thou  grown  great, 
And,  like  ambitious  Sylla,  over-gorged 
With  gobbets  of  thy  mother's  bleeding  heart." 

The  description  of  the  wounded  stag,  rehearsed  to  the 
banished  duke  by  one  of  his  attendants,  is  as  touching  a  narra- 
tive, as  full  of  tenderness,  as  any  which  show  the  Poet's 
wonderful  power  over  our  feelings  ;  it  is  from  As  You  Like  It 
(act  ii.  sc.  I,  1.  29,  vol.  ii.  p.  394), — 

"  To-day  my  Lord  of  Amiens  and  myself 
Did  steal  behind  him  \Jaques\  as  he  lay  along 
Under  an  oak  whose  antique  root  peeps  out 
Upon  the  brook  that  brawls  along  this  wood  : 
To  the  which  place  a  poor  sequester'd  stag, 
That  from  the  hunter's  aim  had  ta'en  a  hurt, 
Did  come  to  languish,  and  indeed,  my  lord, 
The  wretched  animal  heaved  forth  such  groans, 
That  their  discharge  did  stretch  his  leathern  coat 
Almost  to  bursting,  and  the  big  round  tears 
Coursed  one  another  down  his  innocent  nose 
In  piteous  chase  ;  and  thus  the  hairy  fool, 
Much  marked  of  the  melancholy  Jacques, 
Stood  on  the  extremest  verge  of  the  swift  brook, 
Augmenting  it  with  tears." 

Graphic  and  highly  ornamented  though  this  description  may 
be,  it  is  really  the  counterpart  of  Gabriel  Symeoni's  Emblem  of 
love  incurable.  The  poor  stag  lies  wounded  and  helpless, — the 
mortal  dart  in  his  flank,  and  the  life-stream  gushing  out.  The 


398 


CLASSIFICA  TION. 


[CHAP.  VI. 


scroll  above  bears  a  Spanish  motto,  This  holds  their  Remedy  and 
not  I ;  and  it  serves  to  introduce  the  usual  quatrain. 


D'VN      AM  ORE. 

INCVRABILE. 


Giovio  and  Symeoni,  1562. 

Troua  il  ceruio  ferito  alfuo  gran  male  Efto  tiene 

Nel  dittamo  Creteo  fido  ricorfo,  fu  reme- 

Ma  lajjo  (io1 1  so)  rimedio  ne  foe  corf o  dio,  y  non 

AW  amorofo  colpo  alcun  non  <vale.  yo. 

"  The  smitten  stag  hath  found  sad  pains  to  feel, 
No  trusted  Cretan  dittany*  is  near, 
Wearied,  for  succour  there  is  only  fear, — 
The  wounds  of  love  no  remedy  can  heal." 

*  Virgil's  ALneid  (bk.  xii.  412—414),  thus  expressed  in  Dryden's  rendering,  will 
explain  the  passage  ;  he  is  speaking  of  Venus, — 

"  A  branch  of  healing  dittany  she  brought : 

Which  in  the  Cretan  fields  with  care  she  sought : 
Rough  is  the  stem,  which  wooly  leafs  surround  ; 
The  leafs  with  flow'rs,  the  flow'rs  with  purple  crown  "d." 

See  also  Joachim  Camerarius,  Ex  Animalibus  Quadrup.  (ed.  1595,  Emb.  69,  p.  71). 


SECT.  VII.]  POETIC    IDEAS.  399 

To  the  same  motto  and  the  same  device  Paradin  (fol.  168) 
furnishes  an  explanation, — 

"  The  device  of  love  incurable"  he  says,  "  may  be  a  stag  wounded  by  an 
arrow,  having  a  branch  of  Dittany  in  its  mouth,  which  is  a  herb  that  grows 
abundantly  in  the  island  of  Crete.  By  eating  this  the  wounded  stag  heals  all 
its  injuries.  The  motto,  f  Esto  tienne  su  remedio,  y  no  yo/  follows  those 
verses  of  Ovid  in  the  Metamorphoses,  where  Phoebus,  complaining  of  the  love 
for  Daphne,  says,  '  Hei  mihi,  quod  nullis  amor  est  medicabilis  herbis.'" 

The  connected  lines  in  Ovid's  Metamorphoses  (bk.  i.  fab.  9),  show 
that  even  Apollo,  the  god  of  healing,  whose  skill  does  good  to  all 
others,  does  no  good  to  himself.  The  Emblems  of  Otho  Vaenius 
(P-  T54)  gives  a  very  similar  account  to  that  of  Symeoni, — 

"  Cerua  venenato  venantiim  sauciaferro 
Dyctamno  qucerit  vulneris  auxilium. 
Hei  mihi,  quod  nullis  sit  Amor  medicabilis  herbis, 
Et  nequeat  medico,  pellier  arte  malum? 

The  following  is  the  English  version  of  that  date,-— 

"  No  help  for  the  louer? 

"  The  hert  that  wounded  is,  knowes  how  to  fynd  relief, 
And  makes  by  dictamon  the  arrow  out  to  fall, 
And  with  the  self-same  herb  hee  cures  his  wound  withall, 
But  love  no  herb  can  fynd  to  cure  his  inward  grief." 

In  the  presence  of  those  who  had  slain  Caesar,  and  over  his 
dead  body  at  the  foot  of  Pompey's  statue,  "  which  all  the  while  ran 
blood,"  Marc  Antony  poured  forth  his  fine  avowal  of  continued 
fidelity  to  his  friend  (Julius  Ccesar,  act  iii.  sc.  I,  1.  205,  vol.  vii.  p. 

368),- 

"  Pardon  me,  Julius  !     Here  wast  thou  bay'd,  brave  hart  ; 
Here  didst  thou  fall,  and  here  thy  hunters  stand, 
Sign'd  in  thy  spoil  and  crimson'd  in  thy  lethe. 
O  world  !  thou  wast  the  forest  to  this  hart ; 
And  this,  indeed,  O  world,  the  heart  of  thee. 
How  like  a  deer  strucken  by  many  princes 
Dost  thou  here  lie  !  " 

The  same  metaphor  from  the  wounded  deer  is  introduced  in 
Hamlet  (act  iii.  sc.  2,  1.  259,  vol.  viii.  p.  97).  The  acting  of  the 


400  CLASSIFICATION.  [CHAP.  VI. 

play  has  had  on  the  king's  mind  the  influence  which  Hamlet 
hoped  for  ;  and  as  in  haste  and  confusion  the  royal  party  dis- 
perse, he  recites  the  stanza, — 

"  Why,  let  the  stricken  deer  go  weep, 

The  hart  ungalled  play  ; 

For  some  must  watch,  whilst  some  must  sleep  : 
Thus  runs  the  world  away." 

The  very  briefest  allusion  to  the  subject  of  our  Emblem  is 
also  contained  in  the  Winter's  Tale  (act  i.  sc.  2,  1.  115,  vol.  iii. 
p.  323).  Leontes  is  discoursing  with  his  queen  Hermione, — 

"  But  to  be  paddling  palms  and  pinching  fingers, 
As  now  they  are,  and  making  practised  smiles, 
As  in  a  looking  glass,  and  then  to  sigh,  as  'twere 
The  mort  o'  the  deer ;  O,  that  is  entertainment 
My  bosom  likes  not,  nor  my  brows  ! " 

The  poetical  epithet  "  golden,"  so  frequently  expressive  of 
excellence  and  perfection,  and  applied  even  to  qualities  of  the 
mind,  is  declared  by  Douce  (vol.  i.  p.  84)  to  have  been  derived 
by  Shakespeare  either  from  Sidney's  Arcadia  (bk.  ii.),  or  from 
Arthur  Golding's  translation  of  Ovid's  Metamorphoses  (4to, 
fol.  8),  where  speaking  of  Cupid's  arrows,  he  says, — 

"  That  causeth  love  is  all  of  golde  with  point  full  sharp  and  bright. 
That  chaseth  love,  is  blunt,  whose  steele  with  leaden  head  is  dight." 

This  borrowing  and  using  of  the  epithet  "  golden  "  might 
equally  well,  and  with  as  much  probability,  have  taken  place 
through  the  influence  of  Alciat,  or  by  adoption  from  Whitney's 
very  beautiful  translation  and  paraphrase  of  Joachim  Bellay's 
Fable  of  Cupid  and  Death.  The  two  were  lodging  together  at 
an  inn,*  and  unintentionally  exchanged  quivers  :  death's  darts 
were  made  of  bone,  Cupid's  were  "  dartes  of  goulde." 

*  In  Haechtan's  Parvus  Mundus  (ed.  1579),  Gerard  de  Jocle  represents  the  sleep- 
ing place  as  "sub  tegmiae  fagi," — but  the  results  of  the  mistake  as  equally  unfortu- 
nate with  those  in  Bellay  and  Whitney. 


SECT.  VII.]  POETIC    IDEAS.  401 

The  conception  of  the  tale  is  admirable,  and  the  narrative 
itself  full  of  taste  and  beauty.  Premising  that  the  same  device 
is  employed  by  Whitney  as  by  Alciat,  we  will  first  give  almost 
a  literal  version  from  the  I54th  and  15 5th  Emblems  9f  the 
latter  author  (edition  1581), — 

"  Wandering  about  was  Death  along  with  Cupid  as  companion, 

With  himself  Death  was  bearing  quivers  ;  little  Love  his  weapons  ; 
Together  at  an  inn  they  lodged  ;  one  night  together  one  bed  they  shared ; 

Love  was  blind,  and  on  this  occasion  Death  also  was  blind. 
Unforeseeing  the  evil,  one  took  the  darts  of  the  other, 

Death  the  golden  weapons, — those  of  bone  the  boy  rashly  seizes.- 
Hence  an  old  man  who  ought  now  to  be  near  upon  Acheron, 

Behold  him  loving, — and  for  his  brow  flower-fillets  preparing. 
But  I,  since  Love  smote  me  with  the  dart  that  was  changed, 

I  am  fainting,  and  their  hand  the  fates  upon  me  are  laying. 
Spare,  O  boy  ;  spare,  O  Death,  holding  the  ensigns  victorious, — 

Make  me  the  lover,  the  old  man  make  him  sink  beneath  Acheron/' 

And  carrying  on  the  idea  into  the  next  Emblem  (155), — 

"  Why,  O  Death,  with  thy  wiles  darest  thou  deceive  Love  the  boy, 
That  thy  weapons  he  should  hurl,  while  he  thinks  them  his  own  ? " 

Whitney's  "  sportive  tale,  concerning  death  and  love," 
possesses  sufficient  merit  to  be  given  in  full  (p.  132),— 

De  morte,  &  amore  :   locofum. 
To  EDWARD  DYER,  Efquier. 


Whitney,  1586. 


402  CLASSIFICATION.  [CHAP.  VI. 

"  T  T  THILE  furious  Mors,  from  place,  to  place  did  flie, 

V  *     And  here,  and  there,  her  fatall  dartes  did  throwe  : 
At  lengthe  shee  mette,  with  Cupid  passing  by, 
Who  likewise  had,  bene  busie  with  his  bowe  : 
Within  one  Inne,  they  bothe  togeather  stay'd, 
And  for  one  nighte,  awaie  theire  shooting  lay'd. 

The  morrowe  next,  they  bothe  awaie  doe  haste, 
And  cache  by  chaunce,  the  others  quiuer  takes  : 
The  frozen  dartes,  on  Cupiddes  backe  weare  plac'd, 
The  fierie  dartes,  the  leane  virago  shakes  : 
Whereby  ensued,  suche  alteration  straunge, 
As  all  the  worlde,  did  wonder  at  the  chaunge. 

For  gallant  youthes,  whome  Cupid  thoughte  to  wounde, 

Of  loue,  and  life,  did  make  an  ende  at  once. 

And  aged  men,  whome  deathe  woulde  bringe  to  ground e  : 

Beganne  againe  to  loue,  with  sighes,  and  grones  ; 
Thus  natures  lawes,  this  chaunce  infringed  soe : 
That  age  did  loue,  and  youthe  to  graue  did  goe. 

Till  at  the  laste,  as  Cupid  drewe  his  bowe, 
Before  he  shotte  :  a  younglinge  thus  did  crye, 
Oh  Venus  sonne,  thy  dartes  thou  doste  not  knowe, 
They  pierce  too  deepe  :  for  all  thou  hittes,  doe  die  : 
Oh  spare  our  age,  who  honored  thee  of  oulde, 
Theise  dartes  are  bone,  take  thou  the  dartes  of  goulde. 

Which  beinge  saide,  a  while  did  Cupid  staye, 
And  sawe,  how  youthe  was  almoste  cleane  extinct  : 
And  age  did  doate,  with  garlandes  freshe,  and  gaye, 
And  heades  all  balde,  weare  newe  in  w.edlocke  linckt : 
Wherefore  he  shewed,  this  error  vnto  Mors, 
Who  miscontent,  did  chaunge  againe  perforce. 

Yet  so,  as  bothe  some  dartes  awaie  conuay'd, 
Which  weare  not  theirs  :  yet  vnto  neither  knowne, 
Some  bonie  dartes,  in  Cupiddes  quiuer  stay'd, 
Some  goulden  dartes,  had  Mors  amongst  her  owne. 
Then,  when  wee  see,  vntimelie  deathe  appeare  : 
Or  wanton  age  :  it  was  this  chaunce  you  heare." 

For  an  interlude  to  our  remarks  on  the  "golden,"  we  must 
mention  that  the  pretty  tale  Concerning  Death  and  Cupid  was 


SECT.  V1L]  POETIC    IDEAS.  403 

attributed  to  Whitney  by  one  of  Shakespeare's  contemporaries ; 
and,  if  known  to  other  literary  men  of  the  age,  very  reasonably 
may  be  supposed  not  unknown  to  the  dramatist.  Henry 
Peacham,  in  1612,  p.  172  of  his  Emblems,  acknowledges  that  it 
was  from  Whitney  that  he  derived  his  own  tale,— 

"  De  Morte,  et  Cupidine? 
ATH  meeting  once,  with  CVPID  in  an  Inne, 
Where  roome  was  scant,  togeither  both  they  lay. 
Both  wearie,  (for  they  roving  both  had  beene,) 
Now  on  the  morrow  when  they  should  away, 
CVPID  Death's  quiver  at  his  back  had  throwne, 
And  DEA  TH  tooke  CVPIDS,  thinking  it  his  owne. 

By  this  o're-sight,  it  shortly  came  to  passe, 

That  young  men  died,  who  readie  were  to  wed  : 

And  age  did  revell  with  his  bonny-lasse, 

Composing  girlonds  for  his  hoarie  head  : 
Invert  not  Nature,  oh  ye  Powers  twaine, 
Giue  CVPID'S  dartes,  and  DEA  TH  take  thine  againe." 

Whitney  luxuriates  in  this  epithet  "  golden  ; " — golden  fleece, 
golden  hour,  golden  pen,  golden  sentence,  golden  book,  golden 
palm  are  found  recorded  in  his  pages.  At  p.  214  we  have  the 

lines, — 

"  A  Leaden  sworde,  within  a  goulden  sheathe, 
Is  like  a  foole  of  natures  finest  moulde, 
To  whome,  shee  did  her  rarest  giftes  bequethe, 
Or  like  a  sheepe;  within  a  fleece  of  goulde." 

We  may  indeed  regard  Whitney  as  the  prototype  of  Hood's 
world-famous  "  Miss  Kilmansegg,  with  her  golden  leg," — 

"  And  a  pair  of  Golden  Crutches."  (vol.  i.  p.  189.) 

Shakespeare  is  scarcely  more  sparing  in  this  respect  than  the 
Cheshire  Emblematist  ;  he  mentions  for  us  "  golden  tresses  of 
the  dead,"  "  golden  oars  and  a  silver  stream,"  "  the  glory,  that  in 
gold  clasps  locks  in  the  golden  story,"  "  a  golden  casket,"  "  a 


4o4  CLASSIFICATION.  [CHAP.  VI. 

golden  bed,"  and  "  a  golden  mind."  Merchant  of  Venice  (act  ii. 
sc.  7,  lines  20  and  58,  vol.  ii.  p.  312), — 

"  A  golden  mind  stoops  not  to  shows  of  dross. 

But  here  an  angel  in  a  golden  bed 
Lies  all  within." 

And  applied  direct  to  Cupid's  artillery  in  Midsummer  Night's 
Dream  (act  i.  sc.  I,  1.  168,  vol.  ii.  p.  204),  Hermia  makes  fine  use 

of  the  epithet  golden, — 

"  My  good  Lysander  ! 
I  swear  to  thee  by  Cupid's  strongest  bow, 
By  his  best  arrow  with  the  golden  head." 

So  in  Twelfth  Night  (act  i.  sc.  I,  1.  33,  vol.  iii.  p.  224),  Orsino, 
Duke  of  Milan,  speaks  of  Olivia, — 

"  O,  she  that  hath  a  heart  of  that  fine  frame 
To  pay  the  debt  of  love  but  to  a  brother, 
How  will  she  love,  when  the  rich  golden  shaft 
Hath  kill'd  the  flock  of  all  affections  else 
That  live  in  her  ;  when  liver,  brain  and  heart 
These  sovereign  thrones,  are  all  supplied,  and  fill'd 
Her  sweet  perfections  with  one  self  king  !  " 

And  when  Helen  praised  the  complexion  or  comeliness  of 
Troilus  above  that  of  Paris,  Cressida  avers  (Troilus  and  Cressida, 
act  i.  sc.  2,  1.  100,  vol.  vi.  p.  134), — 

"  I  had  as  lief  Helen's  golden  tongue  had  commended  Troilus  for  a  copper 


As  Whitney's  pictorial  illustration  represents  them,  Death  and 
Cupid  are  flying  in  mid-air,  and  discharging  their  arrows  from  the 
clouds.  Confining  the  description  to  Cupid,  this  is  exactly  the 
action  in  one  of  the  scenes  of  the  Midsummer  Nighfs  Dream 
(act  ii.  sc.  i,  1.  155,  vol.  ii.  p.  216).  The  passage  was  intended 
to  flatter  Queen  Elizabeth  ;  it  is  Oberon  who  speaks, — 

"  That  very  time  I  saw,  but  thou  couldst  not, 
Flying  between  the  cold  moon  and  the  earth, 


Thcatrum  vitj 


THEATKVM    VI 

TJE     HVMAN^E. 

CAPVT    I. 

VITA   HfMANA  ESTTANQVAM 


omnium  mi  cnamm. 


ici  oflentatcuntta  nfertametw. 
Hoc  lafcrv*  caroipeccaMWymorftftteiSatantftte 
Tnftt  howmem  vexant-,  exagitantyue  mo  Jo. 


SECT.  VII.]  POETIC    IDEAS.  405 

Cupid  all  arm'd  :  a  certain  aim  he  took 

At  a  fair  vestal  throned  by  the  west, 

And  loosed  his  love-shaft  smartly  from  his  bow, 

As  it  should  pierce  a  hundred  thousand  hearts  : 

But  I  might  see  young  Cupid's  fiery  shaft 

Quench'd  in  the  chaste  beams  of  the  watery  moon, 

And  the  imperial  votaress  passed  on, 

In  maiden  meditation,  fancy  free. 

Yet  mark'd  I  where  the  bolt  of  Cupid  fell : 

It  fell  upon  a  little  western  flower, 

Before  milk-white,  now  purple  with  love's  wound, 

And  maidens  call  it  love-in-idleness." 

Scarcely  by  possibility  could  a  dramatist,  who  was  also  an 
actor,  avoid  the  imagery  of  poetic  ideas  with  which  his  own 
profession  made  him  familiar.  I  am  not  sure  if  Sheridan 
Knowles  did  not  escape  the  temptation  ;  but  if  Shakespeare  had 
done  so,  it  would  have  deprived  the  world  of  some  of  the  most 
forcible  passages  in  our  language.  The  theatre  for  which  he 
wrote,  and  the  stage  on  which  he  acted,  supplied  materials  for 
his  imagination  to  work  into  lines  of  surpassing  beauty. 

Boissard's  "THEATRVM  VlT^E  HUMAN^E"  (edition  Metz,  4to, 
1596)  presents  its  first  Emblem  with  the  title, — Human  life 
is  as  a  TJieatre  of  all  Miseries.  (See  Plate  XIV.) 

"  The  life  of  man  a  circus  is,  or  theatre  so  grand  : 

Which  every  thing  shows  forth  filled  full  of  tragic  fear  ; 
Here  wanton  sense,  and  sin,  and  death,  and  Satan's  hand 
Molest  mankind  and  persecute  with  penalties  severe." 

The  picture  of  human  life  which  Boissard  draws  in  his 
" Address  to  the  Reader"  is  gloomy  and  dispiriting;  there  are  in 
it,  he  declares,  the  various  miseries  and  calamities  to  which  man  is 
subject  while  he  lives,  — and  the  conflicts  to  which  he  is  exposed 
from  the  sharpest  and  cruellest  enemies,  the  devil,  the  flesh,  and 
the  world  ;  and  from  their  violence  and  oppression  there  is  no  pos- 
sibility of  escape,  except  by  the  favour  and  help  of  God's  mercy. 

Very  similar  ideas  prevail  in  some  of  Shakespeare's  lines ;  as 


406  CLASSIFICATION.  [CHAP.  VI. 

"  the  thousand  natural  shocks  that  flesh  is  heir  to  "  (Hamlet, 
act  iii.  sc.  i,  1.  62,  vol.  viii.  p.  79)  ;  "  my  heart  all  mad  with  misery 
beats  in  this  hollow  prison  of  my  flesh"  (Titus  Andronicns, 
act  iii.  sc.  2,  1.  9,  vol.  vi.  p.  483)  ;  and,  "  shake  the  yoke  of  in- 
auspicious stars  from  this  world-wearied  flesh"  (Romeo  and 
Juliet,  act  v.  sc.  3,  1.  1 1 1,  vol.  vii.  p.  126). 

But  more  particularly  in  As  You  Like  It  (act  ii.  sc.  7,  1.  136, 
vol.  ii.  p.  409), — 

"  Thou  seest  we  are  not  all  alone  unhappy  : 
This  wide  and  universal  theatre 
Presents  more  woeful  pageants  than  the  scene 
Wherein  we  play  in." 

Also  in  Macbeth  (act  v.  sc.  5,  1.  22,  vol.  vii.  p.  512), — 

"  And  all  our  yesterdays  have  lighted  fools 
The  way  to  dusty  death.     Out,  out,  brief  candle  ! 
Life's  but  a  walking  shadow,  a  poor  player 
That  struts  and  frets  his  hour  upon  the  stage 
And  then  is  heard  no  more  :  it  is  a  tale 
Told  by  an  idiot,  full  of  sound  and  fury 
Signifying  nothing." 

And  when  the  citizens  of  Angiers  haughtily  closed  their  gates 
against  both  King  Philip  and  King  John,  the  taunt  is  raised 
(King  John,  act  ii.  sc.  I,  1.  373,  vol.  iv.  p.  26), — 

"  By  heaven,  these  scroyles  of  Angiers  flout  you,  kings, 
And  stand  securely  on  their  battlements, 
As  in  a  theatre,  whence  they  gape  and  point 
At  your  industrious  scenes  and  acts  of  death." 

The  stages  or  ages  of  man  have  been  variously  divided.  In 
the  Arundel  MS.,  and  in  a  Dutch  work  printed  at  Antwerp  in 
1820,  there  are  ten  of  these  divisions  of  Man's  Life.*  The 
celebrated  physician  Hippocrates  (B.C.  460 — 357),  and  Proclus, 


*  See  "ARCH^OLOGIA,"  vol.  xxxv.   1853,  pp.  167 — 189;    "Observations  on  the 
Origin  of  the  Division  of  Man's  Life  into  Stages.     By  John  Winter  Jones,  Esq." 


<b\tu  foufcrta  ntjtt9cCt^etimttnwiB8  iifnwiCinnnc?tt0teoo\m  ^ta; 
iUro»**tflwfiioifr» 


Je,  Jrvm  #sr  esrrfy  /?/#c&  frtsil  7si 


SECT.  VII.]  POETIC    IDEAS.  407 

the  Platonist  (A.D.  412 — 485),  are  said  to  have  divided  human 
life,  as  Shakespeare  has  done,  into  seven  ages.  And  a  mosaic  on 
the  pavement  of  the  cathedral  at  Siena  gives  exactly  the  same 
division.  This  mosaic  is  very  curious,  and  is  supposed  to  have 
been  executed  by  Antonio  Federighi  in  the  year  1476.  Martin's 
"  SHAKSPERE'S  SEVEN  AGES,"  published  in  1848,  contains  a 
little  narrative  about  it,  furnished  by  Lady  Calcott,  who  shortly 
before  that  time  had  been  travelling  in  Italy, — 

"  We  found,"  she  says,  "  in  the  cathedral  of  Sienna  a  curious  proof  that 
the  division  of  human  life  into  seven  periods,  from  infancy  to  extreme  old  age 
with  a  view  to  draw  a  moral  inference,  was  common  before  Shakspeare's 
time :  the  person  who  was  showing  us  that  fine  church  directed  our 
attention  to  the  large  and  bold  designs  of  Beccafumi,  which  are  inlaid  in 
black  and  white  in  the  pavement,  entirely  neglecting  some  works  of  a  much 
older  date  which  appeared  to  us  to  be  still  more  interesting  on  account  of  the 
simplicity  and  elegance  with  which  they  are  designed.  Several  of  these 
represent  Sibyls  and  other  figures  of  a  mixed  moral  and  religious  character  ; 
but  in  one  of  the  side  chapels  we  were  both  suprised  and  pleased  to  find 
seven  figures,  each  in  a  separate  compartment,  inlaid  in  the  pavement, 
representing  the  Seven  Ages  of  Man." 

Lord  Lindsay  notices  the  same  work,  and  in  his  "  CHRISTIAN 
ART,"  vol.  iii.  p.  112,  speaking  of  the  Pavement  of  the  Duomo  at 
Siena,  says, — "  Seven  ages  of  life  in  the  Southern  Nave,  near 
the  Capella  del  Voto." 

Of  as  old  a  date,  even  if  not  more  ancient,  is  the  Representa- 
tion of  the  Seven  Ages  from  a  Block-Print  belonging  to  the 
British  Museum,  and  of  which  we  present  a  diminished  fac- 
simile (Plate  XV.),  the  original  measuring  15^  in.  by  roj  in. 

The  inscription  on  the  centre  of  the  wheel,  Rota  vite  quc 
scptima  notatur, — "The  wheel  of  life  which  seven  times  is  noted:" 
on  the  outer  rim,  —  Est  velut  aqua  labuntur  deficiens  ita.  Sic 
ornati  nascuntur  in  hac  mortali  vita, — "  It  is  as  water  so  failing, 
they  pass  away.  So  furished  are  they  born  in  this  mortal 
life."  The  figures  for  the  seven  ages  are  inscribed,  Infans  ad  vii. 


408  CLASSIFICATION.  [CHAP.  VI. 

annos, — "  An  infant  for  vii.  years."  Pueritia  *  ad  xv.  anos, — 
"Childhood  up  to  xv.  years."  Adolescetia  ad  xxv.  anos, — "Youth- 
hood  to  xxv.  years."  hivetus  ad  xxxv.  annos, — "  Young  man- 
hood to  xxxv.  years."  Virilitas  ad  1.  annos, — "Mature  manhood 
to  50  years."  Senatus  ad  Ixx.  annos, — "  Age  to  70  years." 
Decrepitus  usque  ad  mortem, — "  Decrepitude  up  to  death."  The 
angel  with  the  scrolls  holds  in  her  right  hand  that  on  which  is 
written  Beuerano,  in  her  left,  Corruptio, — "  Corruption  ; "  below 
her  left,  clav,  for  clavis,  "  a  key." 

Some  parts  of  the  Latin  stanzas  are  difficult  to  decipher  ; 
they  appear,  however,  to  be  the  following,  read  downward,— 

"  Est  hominis  status  in  flore  significatus 
Situ  sentires  quis  esses  et  unde  venisses 
Sunt  triaque  vere  quse  faciunt  me  saspe  dicere, 
Secundum  timeo  quia  hoc  nescio  quando 

Flos  cadit  et  periit  sic  homo  cinis  erit 
Nunquam  rideres  sed  olim  saepe  fleres 
Est  primo  durum  quare  scio  me  moriturum 
Hinc  ternum  flebo  quare  nescio  ut  manebo." 

The  lines,  however,  are  to  be  read  across  the  page, — 

"  Est  hominis  status  in  flore  significatus,  Flos  cadit  et  periit  sic  homo  cinis  erit. 
Situ  sentires  quis  esses  et  unde  venisses,  Nunquam  rideres  sed  olim  saepe 

fleres. 
Sunt  triaque  vere  quae  faciunt  me  saepe  dicere,  Est  primo  durum  quare  scio 

me  moriturum. 
Secundum  timeo  quia  hoc  nescio  quando,  Hinc  ternum  flebo  quare  nescio 

ut  manebo." 

They  are  only  doggerel  Latin,  and  in  doggerel  English  may  be 
expressed, — 

"  Lo  here  is  man's  state — in  flowers  significate  : 
The  flower  fades  and  perishes, — so  man  but  ashes  is ; 
Who  mayst  be  thou  feelest, — whence  com'st  thou  revealest ; 

*  It  may  be  noted  that  the  Romans  understood  by  Pueritia  the  period  from  infancy 
up  to  the  1 7th  year;  by  Adolescentia,  the  period  from  the  age  of  15  to  30;  by 
Jiiventus,  the  season  of  life  from  the  2Oth  to  the  4Oth  year.  Virilitas,  manhood, 
began  when  in  the  i6th  year  a  youth  assumed  the  virilis  toga,  "  the  manly  gown." 


SECT.  VII.]  POETIC    IDEAS.  409 

Laugh  shouldst  thou  never, — but  be  weeping  for  ever  ; 
Three  things  there  are  truly, — which  make  me  say  duly, 
The  first  hard  thing  'tis  to  know, — that  to  death  I  must  go  ; 
The  second  I  fear  then, — since  I  know  not  the  when  ; — 
The  third  again  will  I  weep, — for  I  know  not  in  life  to  keep." 

The  celebrated  speech  of  Jaques  to  his  dethroned  master, 
"  All  the  world's  a  stage,"  from  As  You  Like  It  (act  ii.  sc.  7,  lines 
139 — 165,  vol.  ii.  p.  409),  is  closely  constructed  on  the  model  of 
the  Emblematical  Devices  in  the  foregoing  Block-print.  The 
simple  quoting  of  the  passage  will  be  sufficient  to  show  the 
parallelism  and  correspondence  of  the  thoughts,  if  not  of  the 
expressions, — 

"  Jaques.  All  the  world's  a  stage, 

And  all  the  men  and  women  merely  players  : 
They  have  their  exits  and  their  entrances  ; 
And  one  man  in  his  time  plays  many  parts, 
His  acts  being  seven  ages.     At  first  the  infant, 
Mewling  and  puking  in  the  nurse's  arms. 
Then  the  whining  school-boy,  with  his  satchel 
And  shining  morning  face,  creeping  like  snail 
Unwillingly  to  school.     And  then  the  lover, 
Sighing  like  furnace,  with  a  woeful  ballad 
Made  to  his  mistress'  eyebrow.     Then  a  soldier, 
Full  of  strange  oaths,  and  bearded  like  the  pard, 
Jealous  in  honour,  sudden  and  quick  in  quarrel, 
Seeking  the  bubble  reputation 

Even  in  the  cannon's  mouth.     And  then  the  justice, 
In  fair  round  belly  with  good  capon  lined, 
With  eyes  severe  and  beard  of  formal  cut, 
Full  of  wise  saws  and  modern  instances  ; 
And  so  he  plays  his  part.     The  sixth  age  shifts 
Into  the  lean  and  slipper'd  pantaloon, 
With  spectacles  on  nose  and  pouch  on  side, 
His  youthful  hose,  well  saved,  a  world  too  wide 
For  his  shrunk  shank  ;  and  his  big  manly  voice, 
Turning  again  toward  childish  treble,  pipes 
And  whistles  in  his  sound.     Last  scene  of  all, 
That  ends  this  strange  eventful  history, 
Is  second  childishness  and  mere  oblivion, 
Sans  teeth,  sans  eyes,  sans  taste,  sans  every  thing." 

3  o 


4io 


CLASSIFICA  TION. 


[CHAP.  VI. 


In  far  briefer  phrase,  but  with  a  similar  comparison,  in  reply 
to  the  charge  of  having  "  too  much  respect  upon  the  world," 
Antonia  (Merchant  of  Venice,  act  i.  sc.  I,  1.  77,  vol.  ii.  p.  281) 

remarked, — 

"  I  hold  the  world  but  as  the  world,  Gratiano  ; 
A  stage,  where  every  man  must  play  a  part, 
And  mine  a  sad  one." 

The  pencil  and  the  skill  alone  are  wanting  to  multiply  the 
Emblems  for  the  Poetic  Ideas  which  abound  in  Shakespeare's 
dramas.  His  thoughts  and  their  combinations  are  in  general 
so  clothed  with  life  and  with  other  elements  of  beauty,  that 
materials  for  pictures  exist  in  all  parts  of  his  writings.  Our 
office,  however,  is  not  to  exercise  the  inventive  faculty,  nor,  even 
when  the  invention  has  been  perfected  for  us  by  the  poet's  fancy, 
to  give  it  a  visible  form  and  to  portray  its  outward  graces.  We 
have  simply  to  gather  up  the  scattered  records  of  the  past,  and 
to  show  what  correspondencies  there  really  are  between  Shake- 
speare and  the  elder  Emblem  artists,  and,  when  we  can,  to  point 
out  where  to  him  they  have  been  models,  imitated  and  thus 
approved.  Though,  therefore,  we  might  draw  many  a  sketch,  and 
finish  many  a  picture  from  ideas  to  be  supplied  from  this  unex- 
hausted fountain,  we  are  mindful  of  the  humbler  task  belong- 
ing to  him  who  collects,  and  on  his  shelf  of  literary  antiquities 
places,  only  what  has  the  stamp  of  nearly  three  centuries  upon 
them. 


Boissard,  1596. 


SECT.  VIII.] 


iWORAL    AND    .ESTHETIC. 


ante  pedes. 


SECTION    VIII. 

MORAL    AND    AESTHETIC   EMBLEMS. 

EJOICING  much  if  the  end  should  crown  the 
earlier  portions  of  our  work,  we  enter  now  on  the 
last  and  most  welcome  section  of  this  chapter, — 
on  the  Emblems  which  depict  moral  qualities  and 
aesthetical  properties, — the  Emblems  which  concern  the  judgments 
and  perceptions  of  the  mind,  and  the  conduct  of  the  heart, 
the  conscience,  and  the  life. 
We  will  initiate  this  di- 
vision by  the  motto  and 
device  which  Whitney  (p. 
64)  adopts  from  Sambu- 
cus  (edition  1564,  p.  30), 
— "  Things  lying  at  our 
feet,"  —  that  is,  of  im- 
mediate importance  and 
urgency.  The  Emblems 
are  warnings  from  the 

Whitney,  1586. 

hen    which    is    eating    her 

own  eggs,  and  from  the  cow  which  is  drinking  her  own  milk. 
The  Hungarian  poet  thus  sets  forth  his  theme, — 

"  The  hen  which  had  seen  the  eggs  to  her  care  entrusted, 

Is  here  sucking  them,  and  hope  she  holds  forth  by  no  pledge. 
It  is  herself  she  serves  and  not  others,— of  future,  days  heedless, 
No  sense  of  feeling  has  she  for  the  good  of  posterity. 


412  CLASSIFICATION.  [CHAP.  VI. 

This  a  fault  is  in  many, — things  gained  without  labour 

Thoughtless  they  waste,  unmindful  of  times  that  are  coming. 

So  cows  suck  their  own  udders,— the  milk  proper  for  milk  pails 
They  pilfer  away, — and  why  bear  to  them  the  rich  fodder? 

Not  alone  for  ourselves  do  we  live, — we  live  from  the  birth  hour 
For  our  friends  and  our  country,  and  whom  the  ages  shall  bring." 

The  sentiment  is  admirable,  and  well  placed  by  Whitney  in  the 
foremost  ground, — 

"  1\I OT  *°r  °ur  se^ues'  al°ne  wee  are  create, 
•*•  ^    But  for  our  frendes,  and  for  our  countries  good  : 
And  those,  that  are  vnto  theire  frendes  ingrate, 
And  not  regarde  theire  ofspringe,  and  theire  blood, 
Or  hee,  that  wastes  his  substance  till  he  begges, 
Or  selles  his  landes,  which  seru'de  his  parentes  well : 
Is  like  the  henne,  when  shee  hathe  lay'de  her  egges, 
That  suckes  them  vp  and  leaues  the  emptie  shell, 
Euen  so  theire  spoile,  to  theire  reproche,  and  shame, 
Vndoeth  theire  heire,  and  quite  decayeth  theire  name." 

These  two,  Sambucus  and  Whitney,  are  the  types,  affirming 
that  our  powers  and  gifts  and  opportunities  were  all  bestowed, 
not  for  mere  selfish  enjoyments,  but  to  be  improved  for  the 
general  welfare ;  Shakespeare  is  the  antitype  :  he  amplifies,  and 
exalts,  and  finishes  ;  he  carries  out  the  thought  to  its  comple- 
tion, and  thus  attains  absolute  perfection  ;  for  in  Measure  for 
Measure  (act  i.  sc.  I,  1.  28,  vol.  i.  p.  296),  Vincentio,  the  duke, 
addresses  Angelo,— 

"  There  is  a  kind  of  character  in  thy  life, 
That  to  th'  observer  doth  thy  history 
Fully  unfold.     Thyself  and  thy  belongings 
Are  not  thine  own  so  proper,  as  to  waste 
Thyself  upon  thy  virtues,  they  on  thee. 
Heaven  doth  with  us  as  we  with  torches  do, 
Not  light  them  for  ourselves  ;  for  if  our  virtues 
Did  not  go  forth  of  us,  'twere  all  alike 
As  if  we  had  them  not.     Spirits  are  not  finely  touch'd 
But  to  fine  issues  ;  nor  Nature  never  lends 
The  smallest  scruple  of  her  excellence, 


SECT.  VIII. ] 


MORAL    AND    ESTHETIC. 


But,  like  a  thrifty  goddess,  she  determines 
Herself  the  glory  of  a  creditor, 
Both  thanks  and  use." 

Now,  there  is  beauty  in  the  types,  brief  though  they  be,  and 
on  a  very  lowly  subject  :  but  how  admirable  is  the  antitype  ! 
It  entirely  redeems  the  thought  from  any  associated  meanness, 
carries  it  out  to  its  full  excellence,  and  clothes  it  with  vestments 
of  inspiration.  Such,  in  truth,  is  Shakespeare's  great  praise  ; — 
he  can  lift  another  man's  thought  out  of  the  dust,  and  make  it 
a  fitting  ornament,  even  for  an  archangel's  diadem. 

One  of  Whitney's  finest  Emblems,  in  point  of  conception 
and  treatment,  and,  I  believe,  peculiar  to  himself,  one  of 
those  "  newly  devised,"  is  founded  on  the  sentiment,  "  By 
help  of  God  "  (p.  203). 

Auxilio  diuino. 


To  RICHARDE  DRAKE,  Efquier,  in  praife  of 
Sir  FRANCIS  DRAKE  Knight. 


The  representation  is 
that  of  the  hand  of  Divine 
Providence  issuing  from  a 
cloud  and  holding  the  gir- 
dle which  encompasses  the 
earth.  With  that  girdle 
Sir  Francis  Drake's  ship, 
"  the  Golden  Hind,"  was 
drawn  and  guided  round 
the  globe. 

The  whole  Emblem 
possesses  considerable  in- 
terest, —  for  it  relates  to 
the  great  national  event  of 
Shakespeare's  youth, — the  first  accomplishment  by  Englishmen 
of  the  earth's  circumnavigation.  With  no  more  than  164  able- 
bodied  men,  in  five  small  ships,  little  superior  to  boats  with  a 
deck,  the  adventurous  commander  set  sail  I3th  December,  1577  ; 


Whitney,  1586. 


4i4  CLASSIFICATION.  [CHAP  VI. 

he  went  by  the  Straits  of  Magellan,  and  on  his  return  doubled 
the  Cape  of  Good  Hope,  the  I5th  of  March,  1580,  having  then 
only  fifty-seven  men  and  three  casks  of  water.  The  perilous 
voyage  was  ended  at  Plymouth,  September  the  26th,  1580,  after 
an  absence  of  two  years  and  ten  months. 

These  few  particulars  give  more  meaning  to  the  Poet's  de- 
scription, — 


"  'T^HROVGHE  scorchinge  heate,  throughe  coulde,  in  stormes,  and  tempests 

force, 

By  ragged  rocks,  by  shelfes,  &  sandes  :  this  Knighte  did  keepe  his  course. 
By  gapinge  gulfes  hee  pass'd,  by  monsters  of  the  flood, 
By  pirattes,  theeues,  and  cruell  foes,  that  long'd  to  spill  his  blood. 
That  wonder  greate  to  scape  :  but,  GOD  was  on  his  side, 
And  throughe  them  all,  in  spite  of  all,  his  shaken  shippe  did  guide. 
And,  to  requite  his  paines  :  By  helpe  of  power  deuine. 
His  happe,  at  lengthe  did  aunswere  hope,  to  finde  the  goulden  mine. 
Let  GRJECIA  then  forbeare,  to  praise  her  IASON  boulde  ? 
Who  throughe  the  watchfull  dragons  pass'd,  to  win  the  fleece  of  goulde. 
Since  by  MEDEAS  helpe,  they  weare  inchaunted  all, 
And  IASON  without  perrilles,  pass'de  :  the  conqueste  therefore  small  ? 
But,  hee,  of  whome  I  write,  this  noble  minded  DRAKE, 
Did  bringe  away  his  goulden  fleece,  when  thousand  kies  did  wake. 
Wherefore,  yee  woorthie  wightes,  that  seeke  for  forreine  landes  : 
Yf  that  you  can,  come  alwaise  home,  by  GANGES  goulden  sandes. 
And  you,  that  liue  at  home,  and  can  not  brooke  the  flood, 
Geue  praise  to  them,  that  passe  the  waues,  to  doe  their  countrie  good. 
Before  which  sorte,  as  chiefe  :  in  tempeste,  and  in  calme, 
Sir  FRANCIS  DRAKE,  by  due  deserte,  may'  weare  the  goulden  palme." 

How  similar,  in  part  at   least,   is  the  sentiment  in  Hamlet 
(act  v.  sc.  2,  1.  8,  vol.  viii.  p.  164),  — 

"  Our  indiscretion  sometimes  serves  us  well 
When  our  deep  plots  do  pall  ;  and  that  should  learn  us 
There's  a  divinity  that  shapes  our  ends, 
Rough-hew  them  how  we  will." 

In  the   Emblem  we   may  note  the  girdle  by  which  Drake's 
ship  is  guided  ;  may  it  not  have  been  the  origin  of  Puck's  fancy 


SECT.  VIII. ]  MORAL    AND    AESTHETIC.  415 

in  the  Midsummer  Night's  Dream  (act  ii.  sc.  i,  1.  173,  vol.  ii. 
p.  216),  when  he  answers  Oberon's  strict  command, — 

"  And  be  thou  here  again 
Ere  the  Leviathan  can  swim  a  league. 

Puck.  I'll  put  a  girdle  round  about  the  earth 
In  forty  minutes." 

Besides,  may  it  not  have  been  from  this  voyage  of  Sir 
Francis  Drake,  and  the  accounts  which  were  published  respect- 
ing it,  that  the  correct  knowledge  of  physical  geography  was 
derived  which  Richard  II.  displays  (act  iii.  sc.  2,  1.  37,  &c., 
vol.  iv.  p.  165)  ?  as  in  the  lines, — 

"  when  the  searching  eye  of  heaven  is  hid, 
Behind  the  globe,  that  lights  the  lower  world. 

when  from  under  this  terrestrial  ball 
He  fires  the  proud  tops  of  the  eastern  pines 
•And  darts  his  light  through  every  guilty  hole. 

revell'd  in  the  night 
Whilst  we  were  wandering  with  the  antipodes." 

A  mere  passing  allusion  to  the  same  sentiment,  a  hint  re- 
specting it,  a  single  line  expressing  it,  or  only  a  word  or  two 
relating  to  it,  may  sometimes  very  decidedly  indicate  an 
acquaintance  with  the  author  by  whom  the  sentiment  has  been 
enunciated  in  all  its  fulness.  Thus,  Shakespeare,  in  speaking  of 
Benedick,  in  Much  Ado  about  Nothing  (act  v.  sc.  i,  1.  170,  vol.  ii. 
p.  75),  makes  Don  Pedro  say, — 

"  An  if  she  did  not  hate  him  deadly,  she  would  love  him  dearly  :  the  old 
man's  daughter  told  us  all." 

To  which  Claudius  replies, — 

"  All,  all  ;  and,  moreover,  God  saw  him  when  he  was  hid  in  the  garden." 

Now,  Whitney  (p.  229)  has  an  Emblem  on  this  very 
subject ;  the  motto,  "  God  lives  and  sees."  It  depicts  Adam 


4i6 


CLASSIFICATION. 


[CHAP.  VI. 


concealing  himself,  and  a  divine  light  circling  the  words,  "Vfil 
ES  ?  "—  Where  art  thou  ? 

Dominus  'viuit  &  widel. 


Whitney,  1586. 

"  T)  EHINDE  a  figtree  great,  him  selfe  did  ADAM  hide  : 
-*-*  And  thought  from  GOD  hee  there  might  lurke,  and  should  not  bee 

espide. 

Oh  foole,  no  corners  seeke,  thoughe  thou  a  sinner  bee  ; 
For  none  but  GOD  can  thee  forgiue,  who  all  thy  waies  doth  see."  * 

With  the  same  motto,  "VBI  ES?"  and  a  similar  device, 
Georgette  de  Montenay  (editions  1584  and  1620)  carries  out  the 
same  thought, — 


*  Soon  after  Whitney's  time  this  emblem  was  repeated  in  that  very  odd  and 
curious  volume  ;  "  Stamm  Buch,  Darinnen  Christliche  Tugenden  Bey  spiel  Einhundert 
ausserlesener  Emblemata,  mit  schonen  Kupffer-stiicke  geziener : "  Franckfurt-am- 
Mayn,  Anno  MDCXIX.  8vo,  pp.  447.  At  p.  290,  Emb.  65,  with  the  words  "  UBI 
ES  ?"  there  is  the  figure  of  Adam  hiding  behind  a  tree,  and  among  descriptive  stanzas 
in  seven  or  eight  languages,  are  some  intended  to  be  specimens  of  the  language  at  that 
day  spoken  and  written  in  Britain  : — 

"  Adam  did  breake  God's  commandement, 

In  Paradise  against  his  dissent, 
Therefore  he  hyde  him  vnder  a  tree 

Because  Ais  Lorde,  him  should  not  see. 
But  (alas)  to  God  is  all  tfcing  euident. 

Than  ^e  faunde  him  in  a  moment 
And will  al waves  such  wicked  men 

Feind,  if  th^y  doo  from  ^im  runn." 


SECT.  VIII.]  MORAL    AND    ESTHETIC.  417 

"  Adam  pensoit  estre  fort  bien  cache, 
Quand  il  se  meit  ainsi  souz  lefiguier. 
Mais  il  n'y  a  cachette  oil  le  peche" 
Aux  yeux  de  Dieu  se  puisse  desnier. 
Se  vante  done,  qui  voudra  s'oublier, 
Que  Dieu  ne  void  des  homines  la  meschance, 
Je  croy  qu^  a  rien  ne  serf  tout  ce  mestier 
Qu?  a  se  donner  a  tout  peche  licence.  " 

The  similarity  is  too  great  to  be  named  on  Shakespeare's 
part  an  accidental  coincidence ;  it  may  surely  be  set  down  as 
a  direct  allusion,  not  indeed  of  the  mere  copyist,  but  of  the 
writer,  who,  having  in  his  mind  another's  thought,  does  not 
quote  it  literally,  but  gives  no  uncertain  indication  that  he 
gathered  it  up  he  cannot  tell  where,  yet  has  incorporated  it 
among  his  own  treasures,  and  makes  use  of  it  as  entirely 
his  own. 

From  Corrozet,  Georgette  de  Montenay,  Le  Bey  de  Batilly, 
and  others  their  contemporaries,  we  might  adduce  various 
Moral  and  ^Esthetical  Emblems  to  which  there  are  similarities 
of  thought  or  of  expression  in  Shakespeare's  Dramas,  but  too 
slight  to  deserve  special  notice.  For  Jnstance,  there  are  ingrati- 
tude, the  instability  of  the  world,  faith  and  charity  and  hope, 
calumny,  adversity,  friendship,  fearlessness, — but  to  dwell  upon 
them  would  lengthen  our  statements  and  remarks  more  than 
is  necessary. 

We  will,  however,  make  one  more  extract  from  Corrozet's 
"  HECATOMGRAPHIE  "  (Emb.  83);  to  the  motto,  Beauty  the 
companion  of  goodness ;  which  might  have  been  in  Duke  Vin- 
centio's  mind  (Measure  for  Measure,  act  iii.  sc.  I,  1.  175,  vol.  i. 
p.  340)  when  he  addressed  Isabel,— 

"  The  hand  that  hath  made  you  fair  hath  made  you  good  ;  the  goodness 
that  is  cheap  in  beauty  makes  beauty  brief  in  goodness  ;  but  grace,  being 
the  soul  of  your  complexion,  shall  keep  the  body  of  it  ever  fair." 

3  " 


4i8 


CLASSIFICA  TION. 


[CHAP.   VI. 


Beaulte  conipaigne  de  bonte. 


Comme  la  pierre  precieufe 

Eft  a  1'anneau  d'or  bien  conioin6le, 

Ainfi  la  beaulte  gracieule 

Doibt  eftre  auecq  la  bonte  ioin&e. 


Corrozet,  1540. 


A  pierre  bonne 
A  1' horn  me  donne 
loyeufete, 
Qjjand  la  perfonne 

A  voir  fadonne 

Sa  grand  clarte, 

Mais  fa  beaulte 

Et  dignite 

Augmente  quand  Por  1'enuironne 

Qiie  ie  compare  a  la  bonte 

Pour  fa  trefgrande  vtilite 
ui  &  telle  vcrtu  confonne. 


*    Forme  elegante 

Beaulte  patente 

De  personnage 

Du  tout  augmente 

Se  rend  luyfante 

Quand  il  eft  fage 

Non  au  vifage, 

Mais  au  courage 

Reluyft  la  bonte  excellente 

Et  alors  c'eft  vng  chef  d^ouurage 

Qu_and  on  eft  tresbeau  de  corfage 

Et  qu'au  cueur  eft  vertu  latente. 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  4I9 

The  French  verse  which  immediately  follows  the  Emblem  well 
describes  it,— 

"  As,  for  the  precious  stone 

The  ring  of  gold  is  coin'd  ; 
So,  beauty  in  its  grace 

Should  be  to  goodness  join'd." 

The  dramas  we  have  liberty  to  select  from  furnish  several 
instances  of  the  same  thought.  First,  from  the  Two  Gentlemen 
of  Verona  (act  iv.  sc.  2,  1.  38,  vol.  i.  p.  135),  in  that  exquisitely 
beautiful  little  song  which  answers  the  question,  "  Who  is 
Silvia  ?  "— 

"  Who  is  Silvia  ?     what  is  she, 

That  all  our  swains  commend  her  ? 
Holy,  fair,  and  wise  is  she  ; 

The  heaven  such  grace  did  lend  her, 
That  she  might  admired  be. 

Is  she  kind  as  she  is  fair? 

For  beauty  lives  with  kindness. 
Love  doth  to  her  eyes  repair. 

To  help  him  of  his  blindness, 
And,  being  help'd,  inhabits  there. 

Then  to  Silvia  let  us  sing, 

That  Silvia  is  excelling  ; 
She  excels  each  mortal  thing 

Upon  the  dull  earth  dwelling  : 
To  her  let  us  garlands  bring." 

But  a  closer  parallelism  to  Corrozet's  Emblem  of  beauty 
joined  to  goodness  occurs  in  Henry  VIII.  (act  ii.  sc.  3,  lines  60 
and  75,  vol.  vi.  pp.  45,  46)  ;  it  is  in  the  soliloquy  or  aside  speech 
of  the  '  Lord  Chamberlain,  who  had  been  saying  to  Anne 

Bullen,— 

"  The  king's  majesty 

Commends  his  good  opinion  of  you,  and 
Does  purpose  honour  to  you  no  less  flowing 
Than  Marchioness  of  Pembroke." 

With  perfect  tact  Anne  meets  the  flowing  honours,  and  says, — 


420  CLASSIFICATION.  [CHAP.  VI. 

"  Vouchsafe  to  speak  my  thanks  and  my  obedience, 
As  from  a  blushing  handmaid  to  his  highness, 
Whose  health  and  royalty  I  pray  for." 

In  an  aside  the  Chamberlain  owns,— 

"  I  have  perused  her  well ; 
Beauty  and  honour  in  her  are  so  mingled 
That  they  have  caught  the  king  :  and  who  knows  yet 
But  from  this  lady  may  proceed  a  gem 
To  lighten  all  this  isle  ?  " 

So  on  Romeo's  first  sight  of  Juliet  (Romeo  and  Juliet,  act  i. 
sc.  5,  1.  41,  vol.  vii.  p.  30),  her  beauty  and  inner  worth  called 
forth  the  confession, — 

"  O,  she  doth  teach  the  torches  to  burn  bright  ! 
It  seems  she  hangs  upon  the  cheek  of  night 
Like  a  rich  jewel  in  an  Ethiope's  'ear  ; 
Beauty  too  rich  for  use,  for  earth  too  dear." 

And  the  Sonnet  (cv.  vol.  ix.  p.  603, 1.  4)  that  represents  love, — 

"  Still  constant  in  a  wondrous  excellence  ; " 
also  tells  us  of  the  abiding  beauty  of  the  soul, — 

" '  Fair,  kind,  and  true,'  is  all  my  argument, 

'  Fair,  kind,  and  true,'  varying  to  other  words  ; 

And  in  this  change  is  my  invention  spent, 

Three  themes  in  one,  which  wondrous  scope  affords. 

'  Fair,  kind,  and  true,'  have  often  lived  alone, 

Which  three  till  now  never  kept  seat  in  one." 

The  power  of  Conscience,  as  the  soul's  bulwark  against 
adversities,  has  been  sung  from  the  time  when  Horace  wrote 

(Epist.  i.  i.  60),-— 

"  Hie  murus  aeneus  esto, 

Nil  conscire  sibi,  nulla  pallescere  culpa,"— 

"This  be  thy  wall  of  brass,  to  be  conscious  to  thyself' of  no  shame,  to      \ 
become  pale  at  no  crime." 

Or,  in  the  still  more  popular  ode  (farm.  i.  22),  which  being  of 
old  recited  in  the  palaces  of  Maecenas  and  Augustus  at  Rome, 


SECT.  VIII.]  MORAL    AND    ESTHETIC.  421 

has,  after  the  flow  of  nearly  nineteen  centuries,  been  revived  in 
the  drawing  rooms  of  Paris  and  London,  and  of  the  whole 
civilized  world ; — 

"  Integer  vitse,  scelerisque  purus, 
Non  eget  Mauris  jaculis,  neque  arcu, 
Non  venenatis  gravida  sagittis, 
Fusee,  pharetra,"— 

"  He,  sound  in  his  life,  from  all  transgression  free, 
Doth  need  no  Moorish  javelins,  nor  bended  bow, 
Nor  of  arrows  winged  with  poisons  a  quiver-tree, 
Fuscus,  to  strike  his  foe."  * 

Both  these  sentiments  of  the  lyric  poet  have  been  imitated  or 
adapted  by  the  dramatic;  as  in  2  Henry  VI.  (act  iii.  sc.  2,  1.  232, 
vol.  v.  p.  171),  where  the  good  king  exclaims, — 

"  What  stronger  breast-plate  than  a  heart  untainted  ! 
Thrice  is  he  arm'd,  that  hath  his  quarrel  just, 
And  he  but  naked,  though  lock'd'  up  in  steel, 
Whose  conscience  with  injustice  is  corrupted." 

And  again,  in  Titus  Andronicus  (act  iv.  sc.  2,  1.  18,  vol.  vi.  p. 
492),  in  the  words  of  the  original,  on  the  scroll  which  Demetrius 
picks  up,—- 

"  Dem.  What's  here  ?  A  scroll,  and  written  round  about  ! 
Let's  see  : 

[Reads.}     '  l  Integer  vitas,  scelerisque  purus, 

Non  eget  Mauri  jaculis,  nee  arcu.' 

Chi.  O,  'tis  a  verse  in  Horace  ;  I  know  it  well : 
1  read  it  in  the  grammar  long  ago. 

Aar.  Ay,  just  ;  a  verse  in  Horace  ;  right,  you  have  it. 
[Asu&t]  Now,  what  a  thing  it  is  to  be  an  ass  ! 
Here's  no  sound  jest :  the  old  man  hath  found  their  guilt, 
And  sends  them  weapons  wrapp'd  about  with  lines, 
That  wound,  beyond  their  feeling,  to  the  quick." 

*  For  a  fine  Emblem  to  illustrate  this  passage,  see  "HoRATii  EMBLEMATA,"  by 
Otho  Vaenius,  pp.  58,  59,  edit.  Antwerp,  4to,  1612  ;  also  pp.  70  and  71,  to  give 
artistic  force  to  the  idea  of  the  "just  man  firm  to  his  purpose." 


422 


CLASSIFICATION. 


[CHAP.  VI. 


Several  of  the  Emblem  writers,  however,  propound  a  senti- 
ment not  so  generally  known,  in  which  Apollo's  favourite  tree, 
the  Laurel,  is  the  token  of  a  soul  unalarmed  by  threatening  evils. 
Sambucus  and  Whitney  so  consider  it,  and  illustrate  it  with  the 
motto, —  The  pure  conscience  is  mans  latirel  tree. 

Confcientia  Integra,  laurus. 


Sambucus,  1564. 

The  saying  rests  on  the  ancient  persuasion  that  the  laurel  is 
the  sign  of  joy,  victory  and  safety,  and  that  it  is  never  struck 
even  by  the  bolts  of  Jove.  Sambucus,  personifying  the  laurel, 
celebrates  its  praise  in  sixteen  elegiac  lines  beginning, — 

''  PRONA  <virens  calumfpeflo,  nee  fulmina  terrent, 
Obfcelus  excelfa  qua  tacit  arce  pater,"  &c. 

"  Spread  out  flourishing  heaven  I  survey,  nor  do  lightnings  terrify, 

Though  for  crime's  sake  the  father  hurls  them  from  citadels  on  high, 
Yea  even  with  my  leaves  I  crackle,  and  although  burnt 

Daphne  I  name,  whom  the  master's  love  so  importuned. 
So  conscious  virtue  strengthens,  and  placed  far  from  destruction 

Pleasing  my  state  is  to  powers  above,  and  long  time  is  flourishing. 
Men's  voices  he  never  fears,  nor  the  weapons  of  fire, 

Who  hath  girded  his  mind  round  with  snow-bright  love. 
This  mind  the  raging  Eumenides  will  not  distress,  nor  the  home 

For  the  sad  and  the  guiltless  overturn'd  without  cause. 
Even  the  hoary  swan  worn  out  in  inactive  old  age 

Gives  forth  admonitions,  as  it  sings  from  a  stifling  throat  ; 


B' 


SECT.  VIII. ]  MORAL    AND    ESTHETIC.  423 

Pure  of  heart  with  its  mate  conversing,  it  washes  in  water, 
And  morals  of  clearest  hue  in  due  form  rehearses. 

Who  repents  of  unlawful  life,  and  whom  conscious  errors 
Do  not  oppress, — that  man  sings  forth  hymns  everlasting." 

These  thoughts  in  briefer  and  more  nervous  style  Whitney 
rehearses  to  the  old  theme,  A  brazen  wall,  a  sound  conscience 
(P-  67),- 

Murus  <eneus,  fana  confcientia. 
To    MILES    HOBART    Efquier. 

OTHE  freshe,  and  greene,  the  Laurell  standeth  sounde, 

Thoughe  lightninges  flasshe,  and  thunderboltes  do  flie  : 
Where,  other  trees  are  blasted  to  the  grounde, 
Yet,  not  one  leafe  of  it,  is  withered  drie  : 
Euen  so,  the  man  that  hathe  a  conscience  cleare, 
When  wicked  men,  doe  quake  at  euerie  blaste, 
Doth  constant  stande,  and  dothe  no  perrilles  feare, 
When  tempestes  rage,  doe  make  the  worlde  agaste  : 
Suche  men  are  like  vnto  the  Laurell  tree, 
The  others,  like  the  blasted  boughes  that  die." 

But  a  much  fuller  agreement  with  the  above  motto  does  Whitney 
express  in  the  last  stanza  of  Emblem  32, — 

"  A  conscience  cleare,  is  like  a  wall  of  brasse, 
That  dothe  not  shake,  with  euerie  shotte  that  hittes  ; 
Eauen  soe  there  by,  our  liues  wee  quiet  passe. 
When  guiltie  mindes,  are  rack'de  with  fearful  fittes  : 
Then  keepe  thee  pure,  and  soile  thee  not  with  sinne, 
For  after  guilte,  thine  inwarde  greifes  beginne." 

The  same  property  is  assigned  to  the  Laurel  by  Joachim 
Camerarius  ("Ex  RE  HERBARIA,"  p.  35,  edition  1590).  He 
quotes  several  authorities,  or  opinions  for  supposing  that  the 
laurel  was  not  injured  by  lightning.  Pliny,  he  says,  sup- 
ported the  notion ;  the  Emperor  Tiberius  in  thunder  storms 
betook  himself  to  the  shelter  of  the  laurel ;  and  Augustus 
before  him  did  the  same  thing,  adding  as  a  further  pro- 
tection a  girdle  made  from  the  skin  of  a  sea-calf.  Our 


424  CLASSIFICATION.  [CHAP.  VI. 

modern  authorities  give  no  countenance  to  either  of  these 
fancies. 

Now,  combining  the  thoughts  on  Conscience  presented  by 
the  Emblems  on  the  subject  which  have  been  quoted,  can  we 
fail  to  perceive  in  Shakespeare,  when  he  speaks  of  Conscience 
and  its  qualities,  a  general  agreement  with  Sambucus,  and  more 
especially  with  Whitney  ? 

How  finely,  in  Henry  VIIL  (act  iii.  sc.  2,  1.  372,  vol.  vi.  p. 
76),  do  the  old  Cardinal  and  his  faithful  Cromwell  converse,— 

"  Enter  CROMWELL,  and  stands  amazed. 

Wol.  Why,  how  now,  Cromwell  ! 

Crom.  I  have  no  power  to  speak,  sir. 

Wol.  What,  amazed 

At  my  misfortunes  ?  can  thy  spirit  wonder 
A  great  man  should  decline  ?     Nay,  an  you  weep, 
I  am  falPn  indeed. 

Crom.  How  does  your  grace  ? 

Wol.  Why,  well  : 

Never  so  truly  happy,  my  good  Cromwell. 
I  know  myself  now  ;  and  I  feel  within  me 
A  peace  above  all  earthly  dignities, 
A  still  and  quiet  conscience. 

I  am  able  now,  methinks, 
Out  of  a  fortitude  of  soul  I  feel, 
To  endure  more  miseries  and  greater  far 
Than  my  weak-hearted  enemies  dare  offer." 

And,  on  the  other  hand,  the  stings  of  Conscience,  the  d,eep 
remorse  for  iniquities,  the  self-condemnation  which  lights  upon 
the  sinful,  never  had  expounder  so  forcible  and  true  to  nature. 
When  Alonso,  as  portrayed  in  the  Tempest  (act  iii.  sc.  3,  1.  95, 
vol.  i.  p.  53),  thought  of  his  cruel  treachery  to  his  brother 

Prospero,  he  says,— 

"  O,  it  is  monstrous,  monstrous  ! 
Methought  the  billows  spoke,  and  told  me  of  it  ; 
The  winds  did  sing  it  to  me  ;  and  the  thunder, 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  425 

That  deep  and  dreadful  organ-pipe,  pronounced 
The  name  of  Prosper  :  it  did  bass  my  trespass." 

And  the  King's  dream,  on  the  eve  of  Bosworth  battle 
(Richard  III.,  act  v.  sc.  3,  lines  179,  193,  and  200,  vol.  v.  p.  625), 
what  a  picture  it  gives  of  the  tumult  of  his  soul !  — 

• 
"  O  coward  conscience,  how  dost  thou  affright  me  ! 

My  conscience  hath  a  thousand  several  tongues, 
And  every  tongue  brings  in  a  several  tale, 
And  every  tale  condemns  me  for  a  villain. 

There  is  no  creature  loves  me  ; 
And,  if  I  die,  no  soul  shall  pity  me  : — 
Nay,  wherefore  should  they  ?  since  that  I  myself, 
Find  in  myself  no  pity  to  myself. 
Methought,  the  souls  of  all  that  I  had  murder'd 
Came  to  my  tent ;  and  everyone  did  threat 
To-morrow's  vengeance  on  the  head  of  Richard." 

Various  expressions  of  the  dramatist  may  end  this  notice  of 
the  Judge  within  us, — 

"  The  worm  of  conscience  still  begnaw  thy  soul." 

"  Every  man's  conscience  is  a  thousand  swords 
To  fight  against  that  bloody  homicide." 

"  I'll  haunt  thee,  like  a  wicked  conscience  still, 
That  mouldeth  goblins  swift  as  frenzy  thought." 

"  Thus  conscience  doth  make  cowards  of  us  all." 

In  some  degree  allied  to  the  power  of  conscience  is  the 
retribution  for  sin  ordained  by  the  Divine  Wisdom.  We  have 
not  an  Emblem  to  present  in  illustration,  but  the  lines  from 
King  Lear  (act  v.  sc.  3,  1.  171,  vol.  viii.  p.  416), — 

"  The  gods  are  just,  and  of  our  pleasant  vices 
Make  instruments  to  plague  us,"- 


426  •  CLASSIFICA TION.  [CHAP.  VI. 

are  so  co-incident  with  a  sentiment  in  the  Confessions  (bk.  i.  c. 
12,  §  19)  of  the  great  Augustine  that  they  deserve  at  least  to 
be  set  in  juxta-position.  The  Bishop  is  addressing  the  Supreme 
in  prayer,  and  naming  the  sins  and  follies  of  his  youth,  says, — 

"  De  peccanti  meipso  juste  retribuebas  mihi.  JUSISTI  enim,  &>  sic  est,  ut 
pcena  sua  sibi  sit  omnis  inordinatus  animis" 

i.e.  "  By  my  own  sin  Thou  didst  justly  punish  me.  For  thou  hast  commanded, 
and  so  it  is,  that  every  inordinate  affection  should  bear  its  own  punishment."* 

"  Timon  of  Athens!'  we  are  informed  by  Dr.  Drake  (vol.  ii.  p. 
447),  "  is  an  admirable  satire  on  the  folly  and  ingratitude  of 
mankind  ;  the  former  exemplified^  in  the  thoughtless  profusion 
of  Timon,  the  latter  in  the  conduct  of  his  pretended  friends  ;  it 
is,  as  Dr.  Johnson  observes, — 

" '  A  very  powerful  warning  against  that  ostentatious  liberality,  which 
scatters  bounty,  but  confers  no  benefits,  and  buys  flattery  but  not 
friendship.' " 

There  is  some  doubt  whether  Shakespeare  derived  his  idea 
of  this  play  from  the  notices  of  Timon  which  appear  in  Lucian, 
or  from  those  given  by  Plutarch.  The  fact,  however,  that  the 
very  excellent  work  by  Sir  Thomas  North,  Knight,  The  Lives 
of  the  Noble  Grecians  and  Rornaines,  &c.,  was  published  in  1579, 
— and  that  Shakespeare  copies  it  very  closely  in  the  account  of 
Timon's  sepulchre  and  epitaph,  show,  I  think,  Plutarch  to  have 
been  the  source  of  his  knowledge  of  Timon's  character  and 
life. 

One  of  the  Emblem  writers,  Sambucus,  treated  of  the  same 
subject  in  eighteen  Latin  elegiacs,  and  expressly  named  it, 
Timon  the  Misanthrope.  The  scene,  too,  which  the  device 
represents,  is  in  a  garden,  and  we  can  very  readily  fancy  that 

*  Shakespeare  illustrated  by  parallelisms  from  the  Fathers  of  the  Church  might,  I 
doubt  not,  be  rendered  very  interesting  and  instructive  by  a  writer  of  competent 
learning  and  enthusiasm,  not  to  name  \tfurore,  in  behalf  of  his  subject. 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  427 

the   figure   on   the   left   is   the   old   steward    Flavius   come   to 
reason  with  his  master. — 


Ad  Hieron.  Cardanum. 


Sambucus,  1584. 

ODE  RAT  hie  cunctos,  nee  fet  nee  amabat  antic  os, 

Mia-uv  avepuirovs  nomina  digna  gerens. 
Hoc  vitium,  &  morbus  de  bill  nafcitur  atra, 

Anxiat  h<?c,  curas  fuppeditat^  graues. 
Quapropter  cecidiffe  piro,  fregij/e^  crura 

Fertur,  &  auxilium  non  petiijje  malo. 
Suauibus  afociis,  &  confuetudine  dulci 

Qui  fe  fubducunt ,  'vulnerafauaferunt. 
Condltio  h<xc  mifera  eft,  trifles  fufpiria  ducunt, 

Cumcfe  nihil  caufae  eft,  occubuijje  <velint. 
At  tu  dum  poteris,  noto  fociere  fodali, 

Subleuet  <vt  prej/um,  cor^  dolore  <vacet. 
Quos  nulla  attingunt  prorfus  commercia  grata 

Atque  fodalitio,  fubjidiis  <£  carent : 
Aut  Dij  funt  proprij,  autfalfus  peruertit  inane s 

Senfus,  <vt  hosftolidos,  <vana(^  corda  putes. 
Tu  'verb  tandem  nobis  dialeflica  fponte 

Donata,  in  lucem  mittito,Ji  memor  es. 

In  this  case  we 'have  given  the  Latin  of  Sambucus  in  full, 
and  append  a  nearly  literal  translation,— 


428  CLASSIFICATION.  [CHAP.  VI. 

"  All  men  did  he  hate,  nor  loved  himself,  nor  his  kindred, — 

One  hating  mankind  was  the  name,  worthy  of  him,  he  bore. 
This  faultiness  and  disease  from  the  black  bile  arise, 

When  freely  it  flows  heavy  cares  it  increases. 
Wherefore  from  a  pear  tree  he  is  said  to  have  fallen, 

To  have  broken  his  legs,  nor  help  to  have  sought  for  the  evil. 
From  pleasant  companions,  and  sweet  conversation 

They  who  withdraw  themselves,  cruel  wounds  have  to  bear. 
Wretched  this  state  of  theirs,  sorrowful  what  sighs  they  draw, 

And  though  never  a  cause  arise,  'tis  their  wish  to  have  died. 
But  thou,  while  the  power  remains,  join  thy  well-known  companion, 

Thee  overwhelmed  he  strengthens,  and  free  sets  the  heart  from  its  grief. 
Whom,  with  a  friend  that  is  pleasing,  never  intercourse  touches, 

Without  companionship,  long  without  assistance  they  remain. 
Either  the  gods  are  our  own,  or  false  feeling  perverteth  the  soul, 

And  you  fancy  men  stupid,  and  their  hearts  all  are  vain. 
To  us  at  length  reasoning  power  freely  being  granted, 

Into  light  do  thou  send  them,  if  of  light  thou  art  mindful." 

The  character  here  sketched  is  deficient  in  the  thorough 
heartiness  of  hatred  for  which  Shakespeare's  Timon  is  dis- 
tinguished, yet  may  it  have  served  him  for  the  primal  material 
out  of  which  to  create  the  drama.  In  Sambucus  there  is  a 
mistiness  of  thought  and  language  which  might  be  said  almost 
to  prefigure  the  doubtful  utterances  of  some  of  our  modern 
philosophers,  but  in  Shakespeare  the  master  himself  takes  in 
hand  the  pencil  of  true  genius,  and  by  the  contrasts  and 
harmonies,  the  unmistakeable  delineations  and  portraitures,  lays 
on  the  canvas  a  picture  as  rich  in  its  colouring  as  it  is  constant 
in  its  fidelity  to  nature,  and  as  perfect  in  its  finish  as  it  is  bold 
in  its  conceptions. 

The  extravagance  of  Timon's  hatred  may  be  gathered  from 
only  a  few  of  his  expressions, — 

"  Burn,  house  !  sink,  Athens  !  henceforth  hated  be 
Of  Timon  man  and  all  humanity." 

Timon  of  Athens ,  act  iii.  sc.  6, 1.  103. 

"  Timon  will  to  the  woods,  where  he  shall  find 
The  unkindest  beast  more  kinder  than  mankind. 


SECT.  VIII.  ]  MORAL    AND    ESTHETIC.  429 

The  gods  confound  —  hear  me,  you  good  gods  all  !  — 
The  Athenians  both  within  and  out  that  wall  ! 
And  grant,  as  Timon  grows,  his  hate  may  grow 
To  the  whole  race  of  mankind,  high  and  low  ! 
Amen." 

Act  iv.  sc.i,  1.  35. 
"All  is  oblique; 

There's  nothing  level  in  our  cursed  natures 
But  direct  villany.  Therefore  be  abhorr'd 
All  feasts,  societies  and  throngs  of  men." 

Act  iv.  sc.  3,  1.  1  8. 

"  I  am  misanthropes,  and  hate  mankind. 
For  thy  part,  I  do  wish  thou  wert  a  dog, 
That  I  might  love  thee  something." 

Act  iv.  sc.  3,  1.  51. 

"  I  never  had  honest  man  about  me,  I  ;  all 
I  kept  were  knaves,  to  serve  in  meat  to  villains." 

Act  iv.  sc.  3,  1.  475. 

And  so  his  ungoverned  passion  of  hatred  goes  on  until  it 
culminates  in  the  epitaph  placed  on  his  tomb,  which  he  names 
his  "  everlasting  mansion,"  — 

"  Upon  the  beached  verge  of  the  salt  flood." 

That  epitaph  as  given  by  Shakespeare,  from  North's  Plutarch 
(edition  1579,  P-  IQO3)>  is  almost  a  literal  rendering  from 
the  real  epitaph  recorded  in  the  Greek  Anthology  (Jacobs, 
vol.  i.  p.  86),  — 

'  '  'Ei/flaS'  aTroppr]£as  tyvx  V  fiapvSaipova  Ke'i/J.at, 
Tovvo/jia  5'  ov  ireiKTeaQe,  KUKol  5e  /ca/ca>s  o7rJAot<r#e." 


Of  which  a  very  close  translation  will  be,— 

"  Here,  having  rent  asunder  a  daemon  oppressed  soul,  I  lie  ; 
The  name  ye  shall  not  inquire,  but  ye  bad  ones  badly  shall  perish." 

The  epitaph  of  the  drama  (Timon  of  Athens,  act  v.  sc.  4,  1.  69, 


430  CLASSIFICATION.  [CHAP.  VI. 

vol.  vii.  p.  305)  is  thus  read  by  Alcibiades  from  the  wax  impres- 
sion taken  at  the  tomb,  — 

"  Here  lies  a  wretched  corse,  of  wretched  soul  bereft  : 
Seek  not  my  name  :  a  plague  consume  you  wicked  caitiffs  left  ! 
Here  lie  I,  Timon  ;  who,  alive,  all  living  men  did  hate  : 
Pass  by  and  curse  thy  fill  :  but  pass  and  stay  not  here  thy  gait." 

Plutarch*  introduces  a  mention  of  Timon  into  the  life  of 
Marc  Antony,  whom  he  compares  in  some  respects  '  to  the 
misanthrope  of  Athens.  He  gives  the  same  epitaph  as  that  of 
the  Anthology  above  quoted,  except  a  letter  or  two,  — 


8'  ou  TrevcroiaQe,  itaKol  Se  /ca/ccos  a7roAot(70e." 


Plutarch  avers,  "  KOL  TOVTO  pev  CLVTOV  <-TL£&VTCL  TTCTrot^KeWt  \4yovcri" 
—  "  And  people  say  that  during  his  life  he  himself  made  this 
epitaph."  The  narrator  then  adds,  "  TOVTO  be  Trepi^epo'/xow, 
KaXXiiJi6,xov  evri,"  —  "  But  this  round  the  margin  is  by  Calli- 
machus,"- 

"  TI/J.WV  (jLHrdvOpuiros  fffoiKeca  '  aAAo  irdpeXOe 
eiiras  TroAAa,  irdpeXOe  fj.6vov,n 


"  I,  Timon  the  manhater  dwell  within  :  but  pass  by, 
To  bewail  me  thou  hast  spoken  many  things  ;  —  only  pass  by." 

The  two  epitaphs  Shakespeare  has  combined  into  one, 
showing  indeed  his  acquaintance  with  the  above  passage 
through  North's  Plutarch,  but  not  discriminating  the  authorship 
of  the  two  parts.  North's  translation  of  the  epitaphs  is  simple 
and  expressive,  but  the  Langhornes,  in  1770,  vulgarise  the  lines 
into,— 

"  At  last  I've  bid  the  knaves  farewell 
Ask  not  my  name,  but  go  to  hell." 

*  Opera,  vol.  i.  p.  649  B,  Francofurti,  1620. 


SECT.  VIII.]  MORAL    AND    ESTHETIC,  431 

"  My  name  is  Timon  :  knaves  begone, 
Curse  me,  but  come  not  near  my  stone." 

How  Wrangham,  in  his  edition  of  the  Langhornes,  1826,  could 
without  notice  let  this  pass  for  a  translation,  is  altogether  un- 
accountable ! 

Shakespeare's,  adapted  as  it  is  by  Sir  Thomas  North  in  1612, 
may  certainly  be  regarded  as  a  direct  version  from  the  Greek, 
and  might  reasonably  be  adduced  to  prove  that  he  possessed 
some  knowledge  of  that  language.  Probably,  however,  he 
collected,  as  he  could,  the  general  particulars  respecting  the 
veritable  and  historical  Timon,  and  obtained  the  help  of  some 
man  of  learning  so  as  to  give  the  very  epitaph  which  in  the 
time  of  the  Peloponnesian  war  had  been  placed  on  the  thorn- 
surrounded  sepulchre  of  the  Athenian  misanthrope. 

To  conclude  this  notice  we  may  observe  that  the  breaking  of 
the  legs,  which  Sambucus  mentions,  is  said  to  have  been  the 
actual  cause  of  the  real  Timon's  death ;  for  that  in  his  hatred  of 
mankind  he  even  hated  himself,  and  would  not  allow  a  surgeon 
to  attempt  his  cure. 

Envy  and  Hatred  may  be  considered  as  nearly  allied,  the 
latter  too  often  springing  from  the  former.  Alciat,  in  his  7ist 
Emblem,  gives  a  brief  description  of  Envy, — 

"  SQVALLIDA  vipereas  mandiicans  femina  carnes, 

Cuiq.  dolent  oculi,  quceq.  suum  cor  edit, 
Quam  macies  &*  pallor  habent,  spinosaq.  gestat 
Tela  mami  :  talis  pingitur  Inuidia? 

Thus  amplified  with  considerable  force  of  expression  by 
Whitney  (p.  94),  *— 


*  Reference  might  be  made  also  to  Whitney's  fine  tale,  Concerning  Envy  and 
Avarice,  which  immediately  follows  the  Description  of  Envy. 


432 


CLASSIFICA  TION. 


[CHAP.  VI. 


Inuidloe  defer  iptio. 


Whitney,  1586. 

"  T  \  7  HAT  hideous  hagge  with  visage  sterne  appeares? 

*  *     Whose  feeble  limmes,  can  scarce  the  bodie  staie  : 
This,  Enuie  is  :  leane,  pale,  and  full  of  yeares, 
Who  with  the  blisse  of  other  pines  awaie. 
And  what  declares,  her  eating  vipers  broode  ? 
That  poysoned  thoughtes,  bee  euermore  her  foode. 

What  meanes  her  eies  ?  so  bleared,  sore,  and  redd  : 
Her  mourninge  still,  to  see  an  others  gaine. 
And  what  is  mente  by  snakes  vpon  her  head  ? 
The  fruite  that  springes,  of  such  a  venomed  braine. 

But  whie,  her  harte  shee  rentes  within  her  brest  ? 

It  shewes  her  selfe,  doth  worke  her  owne  vnrest. 

Whie  lookes  shee  wronge  ?  bicause  shee  woulde  not  see, 

An  happie  wight,  which  is  to  her  a  hell  : 

What  other  partes  within  this  furie  bee  ? 

Her  harte,  with  gall :  her  tonge,  with  stinges  doth  swell. 
And  laste  of  all,  her  staffe  with  prickes  aboundes  : 
Which  showes  her  wordes,  wherewith  the  good  shee  woundes." 

The   dramatist   speaks   of   the   horrid   creature   with   equal 
power.     Among  his  phrases  are,— 


Thou  makest  thy  knife  keen  ;  but  no  metal  can, 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  433 

No,  not  the  hangman's  axe,  bear  half  the  keenness 
Of  thy  sharp  envy." 

Merchant  of  Venice,  act  iv.  sc.  i,  1.  124. 

"  And  for  we  think  the  eagle-winged  pride 
Of  sky-aspiring  and  ambitious  thoughts, 
With  rival-hating  envy,  set  on  you 
To  wake  our  peace." 

Richard  //.,  act  i.  sc.  3,  1.  129. 

"  Would  curses  kill,  as  doth  the  mandrake's  groan, 
I  would  invent  as  bitter-searching  terms, 
As  curst,  as  harsh  and  horrible  to  hear, 
Deliver'd  strongly  through  my  fixed  teeth, 
With  full  as  many  signs  of  deadly  hate, 
As  lean-faced  Envy  in  her  loathsome  cave." 

2  Hen.  VI. ,  act  iii.  sc.  2,  1.  310. 

"  'tis  greater  skill 

In  a  true  hate,  to  pray  they  have  their  will  : 
The  very  devils  cannot  plague  them  better." 

Cymbeline,  act  ii.  sc.  5,  1.  33. 

"  Men  that  make 

Envy  and  crooked  malice  nourishment 
Dare  bite  the  best." 

Hen.  VII L,  act  v.  sc.  3, 1.  43. 

"  That  monster  envy." 

Pericles,  act  iv.  Introd.,  1.  12. 

The  ill-famed  Thersites,  that  railer  of  the  Grecian  camp, 
may  close  the  array  against  "  the  hideous  hagge  with  visage 
sterne"  (Troilus  and  Cressida,  act  ii.  sc.  3,  1.  18,  vol.  vi. 
p.  169),— 

"  I  have  said  my  prayers  ;  and  devil  Envy  say  Amen." 

The  wrong  done  to  the  soul,  through  denying  it  at  the 
last  hour  the  consolations  of-  religion,  or  through  negligence 
in  not  informing  it  of  its  danger  when  severe  illness  arises, 
is  set  forth  with  true  Shakespearean  power  in  Holbein's 

3  K 


434  CLASSIFICATION.  [CHAP.  VI. 

SimulacJires   &  Historiees  faces  de  la  Mart   (Lyons,   1538),  on 
sign.  Nij,— 

"  O  si  ceulx,  qui  font  telles  choses,  scauoient  le  mal  qu'ilz  font,  ilz  ne 
comettroient  iamais  vne  si  grande  faulte.  Car  de  me  oster  mes  biens, 
persecuter  ma  personne,  denigrer  ma  renommee,  ruyner  ma  maison, 
destruire  mo  paretaige,  scadalizer  ma  famille,  criminer  ma  vie,  ces  ouures  sot 
dug  cruel  ennemy.  Mais  d'estre  occasion,  q  ie  perde  mo  ame,  pour  no  la 
coseiller  au  besoing,  c'est  vne  oeuure  dug  diable  d'Enfer.  Car  pire  est  q  vng 
diable  Thome,  qui  trompe  le  malade." 

It  is  in  a  similar  strain  that  Shakespeare  in  Othello  (act  iii. 
sc.  3,  lines  145  and  159,  vol.  viii.  pp.  512,  513)  speaks  of  the 
wrong  done  by  keeping  back  confidence,  and  by  countenancing 

calumny, — 

"  Oth.  Thou  dost  conspire  against  thy  friend,  I  ago, 
If  thou  but  think'st  him  wrong'd  and  mak'st  his  ear 
A  stranger  to  thy  thoughts. 

lago.  It  were  not  for  your  quiet  nor  your  good, 
Nor  for  my  manhood,  honesty,  or  wisdom, 
To  let  you  know  my  thoughts. 

Oth.  What  dost  thou  mean  ? 

lago.  Good  name  in  man  and  woman,  dear  my  lord, 
Is  the  immediate  jewel  of  their  souls  : 

Who  steals  my  purse  steals  trash  ;  'tis  something,  nothing  ; 
'Twas  mine,  'tis  his,  and  has  been  slave  to  thousands  ; 
But  he  that  filches  from  me  my  good  name 
Robs  me  of  that  which  not  enriches  him 
And  makes  me  poor  indeed." 

The  gallant  ship,  courageously  handled  and  with  high  soul  of 
perseverance  and  fearlessness  guided  through  adverse  waves,  has 
for  long  ages  been  the  type  of  brave  men  and  brave  women 
struggling  against  difficulties,  or  of  states  and  nations  amid 
opposing  influences  battling  for  deliverance  and  victory.  Even 
if  that  gallant  ship  fails  in  her  voyage  she  becomes  a  fitting 
type,  how  "human  affairs  may  decline  at  their  highest."  So 
Sambucus,  and  Whitney  after  him  (p.  11),  adapt  their  device 
and  stanzas  to  the  motto, — 


SECT.  Vlir.J  MORAL    AND    .-ESTHETIC. 

Res  humanse  in  fummo  declinant. 


435 


Sainl'iicits,  1584. 

IN  media  librat  Phoebus  dum  lumlna  c<floy 

Di/oluit  radiis,  quae  cecidere,  nines. 
Cum  res  humance  in  fummo  ftantyfape  liquefcunt  : 

Et  nihil  ceternum,  quod  rapit  atra  dies. 
Nil  imtat  ingentes  habitare  palatia  Reges, 

Conditio  miferos  heec  eademque  manet. 
Mors  aequat  cunttos,  opibus  nee  parcit  in  horam} 

Verbdque  dum  Volitant,  ocyus  ilia  <venit. 
Heu,  leuiter  <ventus  pellit  nos  omnis  inermes, 

Concidimus  citius  quam  leuat  aura  rofas. 

HPiiE  gallante  Shipp,  that  cutts  the  azure  surge, 

And  hathe  both  tide,  and  wisshed  windes,  at  will : 
Her  tackle  sure,  with  shotte  her  foes  to  vrge, 
With  Captaines  boukle,  and  marriners  of  skill, 

With  streamers,  flagges,  topgallantes,  pendantes  braue, 
When  Seas  do  rage,  is  swallowed  in  the  wane. 

The  snowe,  that  falles  vppon  the  mountaines  greate, 

Though  on  the  Alpes,  which  seeme  the  clowdes  to  reache, 

Can  not  indure  the  force  of  Phoebus  heate, 

But  wastes  awaie,  Experience  doth  vs  teache  : 

Which  warneth  all,  on  Fortunes  wheele  that  clime 
To  bcare  in  minde  how  they  haue  but  a  time." 

But  with  brighter  auguries,  though  from  a  similar  device, 
Alciat  (Emb.  43)  shadows  forth  hope  for  a  commonwealth 
when  dangers  are  threatening.  A  noble  vessel  with  its  sails  set 


436  CLASSIFICATION.  [CHAP.  VI. 

is  tossing  upon  the  billows,  the  winds,  however,  wafting  it 
forward  ;  then  it  is  he  gives  utterance  to  the  thought,  Constancy 
the  Companion  of  Victqry  ;  and  thus  illustrates  his  meaning,*— 

"  By  storms  that  are  numberless  our  Commonwealth  is  shaken, 

And  hope  for  safety  in  the  future,  hope  alone  is  present : 
So  a  ship  with  the  ocean  about  her,  when  the  winds  seize  her, 

Gapes  with  wide  fissures  'mid  the  treacherous  waters. 
What  of  help,  the  shining  stars,  brothers  of  Helen,  can  bring  : 
To  spirits  cast  down  good  hope  soon  doth  restore." 

Whitney  (p.  37),  from  the  same  motto  and    device,  almost 
with  a  clarion's  sound,  re-echoes  the  thought, — 

Conftantia  comes  <vi£lori<£. 
To   MILES   CORBET   Efquier. 


Whitney,  1586. 


"  r  I  ^HE  shippe,  that  longe  vppon  the  sea  dothe  saile, 
•*-    And  here,  and  there,  with  varrijng  windes  is  toste 
On  rockes,  and  sandes,  in  daunger  ofte  to  quaile. 
Yet  at  the  lengthe,  obtaines  the  wished  coaste  : 
Which  beinge  wonne,  the  troinpetts  ratlinge  blaste, 
Dothe  teare  the  skie,  for  ioye  of  perills  paste. 

The  original  lines  are, — 

"  INNVMERIS  agitur  Respublica  nostra  procellis, 

Et  spes  ventura:  sola  salutis  adest : 
Non  secus  ac  nauis  media  circum  cequore,  venti, 

Quam  rapiunt ;  falsis  tamq.fatiscit  aqnis. 
Quod  si  Helence  aduetitant  lucentia  sidera.fra.tres : 
Auiissos  animos  spes  bona  restititit." 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  437 

Thoughe  master  reste,  thoughe  Pilotte  take  his  ease, 
Yet  nighte,  and  day,  the  ship  her  course  dothe  keepe  : 
So,  whilst  that  man  dothe  saile  theise  worldlie  seas, 
His  voyage  shortes  :  althoughe  he  wake,  or  sleepe. 
And  if  he  keepe  his  course  directe,  he  winnes 
That  wished  porte,  where  lastinge  ioye  beginnes." 

To  a  similar  purport  is  the  "  FlNlS  CORONAT  OPVS," — The 
end  crowns  the  work, — of  Otho  Vaenius  (p.  108),  if  perchance 
Shakespeare  may  have  seen  it.  Cupid  is  watching  a  sea-tossed 
ship,  and  appears  to  say, — 

"  Ni  rails  optatum  varijs  iactata  procellis 

Obtineat portion,  turn  perijsse  puta. 
Futilis  est  diuturnus  amor,  ni  in  fine  triumphet, 
Nam  benc cospit  opus,  qui  benc  finit  opus" 

i.e.  "  Unless  the  raft  though  tossed  by  various  storms 

The  port  desired  obtains,  think  that  it  perishes  ; 
Vain  is  the  daily  love  if  it  no  triumph  forms, 

For  well  he  work  begins,  who  well  work  finishes." 

Thus,  however,  rendered  at  the  time  into  English  and 
Italian, — 

"  Where  the  end  is  good  all  is  good" 

"  The  ship  toste  by  the  waues  doth  to  no  purpose  saile, 
Vnlesse  the  porte  shee  gayn  whereto  her  cours  doth  tend. 
Right  so  th'  euent  of  loue  appeereth  in  the  end, 
For  losse  it  is  to  loue  and  neuer  to  preuaile." 

"  II  fine  corona  1'opere." 

"  Inutile  e  la  naue,  che  in  mar  vaga 
Senza  prender  giamai  Vamato  porto  : 
Iinpiagato  d'Amor  quel  cor3  e  a  tor  to, 
Che  con  vano  sperar  mat  non  s'appaga" 

Messin  in  his  translation  of  Boissard's  Emblems  (edition  1588, 
p.  24),  takes  the  motto,  "  Av  NAVIRE  AGITE  semble  le  jour  dc 
r/iomme"  and  dilates  into  four  stanzas  the  neatly  expressed 
single  stanza  of  the  original. 


438  CLASSIFICATION.  [CHAP.  VI. 

"  Vita  hccc  est  tanqnam  pelago  commissa  carina, 

Instanti  semper  proximo,  naufragio. 
Optima  res  homini  est  11011  nasci :  pro.rima,  si  te 
Nascifata  velent,  quam  citb  posse  mori" 

i,e.  "  This  life  is  as  a  keel  entrusted  to  the  sea, 

Ever  to  threatening  shipwreck  nearest. 
Not  to  be  born  for  man  is  best  ;  next,  if  to  thee 
The  fates  give  birth,  quick  death  is  dearest." 

Shakespeare  takes  up  these  various  ideas  of  which  the 
ship  in  storm  and  in  calm  is  typical,  and  to  some  of  them 
undoubtedly  gives  utterance  from  the  lips  of  the  dauntless 
Margaret  of  Anjou  (3  Henry  VI.,  act  v.  sc.  4,  1.  I,  vol.  v. 

P-  325)  - 

"  Great  lords,  wise  men  ne'er  sit  and  wail  their  loss, 
But  cheerly  seek  how  to  redress  their  harms. 
What  though  the  mast  be  now  blown  overboard, 
The  cable  broke,  our  holding-anchor  lost, 
And  half  our  sailors  swallow'd  in  the  flood  ? 
Yet  lives  our  pilot  still :  Is't  meet  that  he 
Should  leave  the  helm  and  like  a  fearful  lad 
With  tearful  eyes  add  water  to  the  sea 
And  give  more  strength  to  that  which  hath  too  much  ; 
Whiles,  in  his  moan,  the  ship  splits  on  the  rock, 
Which  industry  and  courage  might  have  saved  ? 
Ah,  what  a  shame  !  ah,  what  a  fault  were  this  ! 
Say,  Warwick  was  our  anchor  ;  what  of  that  ? 
And  Montague  our  top-mast  ;  what  of  him  ? 
Our  slaughtered  friends  the  tackles  ;  what  of  these? 
Why,  is  not  Oxford  here  another  anchor  ? 
And  Somerset  another  goodly  mast  ? 
The  friends  of  France  our  shrouds  and  tacklings  ? 
And,  though  unskilful,  why  not  Ned  and  I 
For  once  allow'd  the  skilful  pilot's  charge  ? 
We  will  not  from  the  helm  to  sit  and  weep, 
But  keep  our  course,  though  the  rough  wind  say, — no, 
From  shelves  and  rocks  that  threaten  us  with  wreck. 
As  good  to  chide  the  waves  as  speak  them  fair. 
And  what  is  Edward  but  a  ruthless  sea  ? 
What  Clarence  but  a  quicksand  of  deceit  ? 
And  Richard  but  a  rugged  fatal  rock  ? 


SECT.  VIII.]  MORAL    AA?£>    ESTHETIC.  439 

All  these  the  enemies  to  our  poor  bark. 

Say,  you  can  swim  ;  alas,  'tis  but  a  while  : 

Tread  on  the  sand  ;  why,  there  you  quickly  sink  : 

Bestride  the  rock  ;  the  tide  will  wash  you  off, 

Or  else  you  famish  ;  that's  a  threefold  death. 

This  speak  I,  lords,  to  let  you  understand, 

If  case  some  one  of  you  would  fly  from  us, 

That  there's  no  hoped-for  mercy  with  the  brothers 

More  than  with  ruthless  waves,  with  sands  and  rocks. 

Why,  courage  then  !  what  cannot  be  avoided 

'Twere  childish  weakness  to  lament  or  fear." 

Well  did  the  bold  queen  merit  the  outspoken  praises  of  her 
son, — 

"  Methinks,  a  woman  of  this  valiant  spirit 
Should,  if  a  coward  heard  her  speak  these  words, 
Infuse  his  breast  with  magnanimity, 
And  make  him,  naked,  foil  a  man  at  arms." 

And  in  a  like  strain,  when  Agamemnon  would   show  that 
the  difficulties  of  the  ten  years'  siege  of  Troy  were  (1.  20), — 

"  But  the  protractive  trials  of  great  Jove 
To  find  persistive  constancy  in  men  ; " 

the  venerable  Nestor,  in  Troilus  and  Crcssida  (act  i.  sc.  3,  1.  33, 
vol.  vi.  p.  142),  enforces  the  thought  by  adding,— 

"  In  the  reproof  of  chance 

Lies  the  true  proof  of  men  :  the  sea  being  smooth, 
How  many  shallow  bauble  boats  dare  sail 
Upon  her  patient  breast,  making  their  way 
With  those  of  nobler  bulk  ! 
But  let  the  ruffian  Boreas  once  enrage 
The  gentle  Thetis,  and  anon  behold 
The  strong-ribb'd  bark  through  liquid  mountains  cut, 
Bounding  between  the  two  moist  elements 
Like  Perseus'  horse. 

Even  so 
Doth  valour's  show  and  valour's  worth  divide 


440  CLASSIFICATION.  [CHAP.  VI. 

In  storms  of  fortune  :  for  in  her  ray  and  brightness 

The  herd  hath  more  annoyance  by  the  breese 

Than  by  the  tiger  ;  but  when  the  splitting  wind 

Makes  flexible  the  knees  of  knotted  oaks, 

And  flies  fled  under  shade,  why  then  the  thing  of  courage 

As  roused  with  rage  with  rage  doth  sympathize, 

And  with  an  accent  tuned  in  selfsame  key 

Retorts  to  chiding  fortune." 

To    the    same    great     sentiments     Georgette     Montenay's 
"EMBLEMES  CHRESTIENNES"  (Rochelle  edition,  p.  n)  supplies 
a  very  suitable  illustration  ;  it  is  to  the  motto,  Quern  timebo  ?— 
"  Whom  shall  I  fear  ?  "— 

"  Du  grand  peril  des  vens  6^  de  la  mer, 
C'est  homme  a  bien  cognoissance  tres  claire, 
Et  ne  craind point  de  se  voir  abismer 
Rusque  son  Dieu  Padresse  et  luy  esclaire" 

The  device  itself  is  excellent,  —  a  single  mariner  on  a  tem- 
pestuous sea,  undaunted  in  his  little  skiff;  and  the  hand  of 
Providence,  issuing  from  a  cloud,  holds  out  to  him  a  beacon 
light. 

"  On  a  student  entangled  in  love,"  is  the  subject  of  Alciat's 
io8th  Emblem.  The  lover  appears  to  have  been  a  jurisconsult, 
whom  Alciat,  himself  a  jurisconsult,  represents, — 

"  Immersed  in  studies,  in  oratory  and  right  well  skilled, 
And  great  especially  in  all  the  processes  of  law, 

Haliarina  he  loves  ;  as  much  as  ever  loved 

The  Thracian  prince  his  sister's  beauteous  maid. 

Why  in  Cyprus  dost  thou  overcome  Pallas  by  another  judge  ? 
Sufficient  is  it  not  to  conquer  at  Mount  Ida?  " 

The  unfinished  thoughts  of  Alciat  are  brought  out  more 
completely  by  Whitney,  who  thus  illustrates  his  subject 

(P- 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  441 

Jn  ftudiofum  captum  amore. 


Whitney,  1586. 

"    A     Reuerend  sage,  of  wisedome  most  profounde, 
^*l  Beganne  to  doate,  and  laye  awaye  his  bookes  : 
For  CVPID  then,  his  tender  harte  did  wounde, 
That  onlie  nowe,  he  lik'de  his  ladies  lookes  ? 

Oh  VENVS  staie  ?  since  once  the  price  was  thine, 
Thou  ought'st  not  still,  at  PALLAS  thus  repine." 

Note,  now,  how  the  thoughts  of  the  Emblematists,  though 
greatly  excelled  in  the  language  which  clothes  them,  are  matched 
by  the  avowals  which  the  severe  and  grave  Angelo  made  to 
himself  in  Measure  for  Measure  (act  ii.  sc.  4,  1.  I,  vol.  i.  p.  327), 
He  had  been  disposed  to  carry  out  against  another  the  full 
severity  of  the  law,  which  he  now  felt  himself  inclined  to  i 
but  confesses, — 

"  When  I  would  pray  and  think,  I  think  and  pray- 
To  several  subjects.     Heaven  hath  my  empty  words  : 
Whilst  my  invention,  hearing  not  my  tongue, 
Anchors  on  Isabel :  Heaven  in  my  mouth» 
As  if  I  did  but  only  chew  his  name  ; 
And  in  my  heart  the  strong  and  swelling  evil 
Of  my  conception.     The  state,  whereon  I  studied, 
Is  like  a  good  thing,  being  often  read, 
Grown  fear'd  and  tedious  ;  yea,  my  gravity, 
Wherein— let  no  man  hear  me— I  take  pride, 

3 


442  CLASSIFICATION.  [CHAP.  VI. 

Could  I  with  boot  change  for  an  idle  plume, 
Which  the  air  beats  for  vain.     O  place,  O  form, 
How  often  dost  thou  with  thy  case,  thy  habit, 
Wrench  awe  from  fools,  and  tie  the  wiser  souls 
To  thy  false  seeming  !     Blood,  thou  art  blood  : 
Let's  write  good  angel  on  the  devil's  horn  ; 
Tis  not  the  devil's  crest." 

But  the  entire  force  of  this  parallelism  in  thought  is  scarcely 
to  be  apprehended,  unless  we  mark  Angelo's  previous  conflict  of 
desire  and  judgment.  Isabel  utters  the  wish,  "  Heaven  keep 
your  honour  safe  !  "  And  after  a  hearty  "  Amen,"  the  old  man 
confesses  to  himself  (p.  324), — 

"  For  I  am  that  way  going  to  temptation, 

Where  prayers  cross." 

Act  ii.  sc.  2, 1.  158. 

"  What's  this,  what's  this  ?  Is  this  her  fault  or  mine  ? 
The  tempter  or  the  tempted,  who  sins  most  ? 
Ha! 

Not  she  ;  nor  doth  she  tempt :  but  it  is  1 
That,  lying  by  the  violet  in  the  sun, 
Do  as  the  carrion  does,  not  as  the  flower, 
Corrupt  with  virtuous  season.     Can  it  be 
That  modesty  may  more  betray  our  sense 

Than  woman's  lightness." 

Act  ii.  sc.  2, 1.  162. 

"What,  do  I  love  her, 
That  I  desire  to  hear  her  speak  again, 
And  feast  upon  her  eyes  ?    What  is't  I  dream  on  ? 
O  cunning  enemy,  that,  to  catch  a  saint, 
With  saints  dost  bait  thy  hook  !     Most  dangerous 
Is  that  temptation  that  doth  goad  us  on 

To  sin  in  loving  virtue." 

Act  ii.  sc.  2, 1.  177. 

There  is  an  Emblem  by  Whitney  (p.  131),  which,  though  in 
some  respects  similar  to  one  at  p.  178  of  the  "PEGMA"  by  Costa- 
lius,  1555,  entitled  "  Iron,"  "  on  the  misery  of  the  human  lot,"  is 
to  a  very  great  degree  his  own,  and  which  makes  it  appear  in  a 


SECT.  VIII. ] 


MORAL    AND    AESTHETIC. 


443 


stronger  light  than  usual,  that  a  close  resemblance  exists 
between  his  ideas  and  even  expressions  and  those  of  Shake- 
speare. The  subject  is  "Writings  remain,"  and  the  device  the 
overthrow  of  stately  buildings,  while  books  continue  unharmed. 


Scripta  manent. 
To  Sir  ARTHVRE    MANWARINGE  Knight. 


Whitney,  1586. 

"  T  F  mightie  TROIE,  with  gates  of  steele,  and  brasse, 
Bee  worne  awaie,  with  tracte  of  stealinge  time  : 
If  CARTHAGE,  raste  :  if  THEBES  be  growne  with  grasse. 
If  BABEL  stoope  :  that  to  the  cloudes  did  clime  : 
If  ATHENS,  and  NVMANTIA  suffered  spoile : 
If  >EGYPT  spires,  be  euened  with  the  soile. 

Then,  what  maye  laste,  which  time  dothe  not  impeache, 
Since  that  wee  see,  theise  monumentes  are  gone  : 
Nothinge  at  all,  but  time  doth  ouer  reache, 
It  eates  the  steele,  and  weares  the  marble  stone  : 
But  writinges  laste,  thoughe  yt  doe  what  it  can, 
And  are  preseru'd,  euen  since  the  worlde  began. 

And  so  they  shall,  while  that  they  same  dothe  laste, 
Which  haue  declar'd,  and  shall  to  future  age  : 
What  thinges  before  three  thousande  yeares  haue  paste, 
What  martiall  knightes,  haue  march'd  vppon  this  stage  : 
Whose  actes,  in  bookes  if  writers  did  not  saue, 
Their  fame  had  ceaste,  and  gone  with  them  to  graue. 


444  CLASSIFICATION.  [CHAP.  VI. 

Of  SAMSONS  strengthe,  of  worthie  IOSVAS  might. 

Of  DAVIDS  actes,  of  ALEXANDERS  force. 

Of  QESAR  greate  ;  and  SCIPIO  noble  knight, 

Howe  shoulde  we  speake,  but  bookes  thereof  discourse  : 
Then  fauour  them,  that  learne  within  their  youthe  : 
But  loue  them  beste,  that  learne,  and  write  the  truthe." 

La  vie  de  Memoire,  and  Vine  ut  viuas, — "  Live  that  you 
may  live," — emblematically  set  forth  by  pen,  and  book,  and 
obelisk,  and  ruined  towers,  in  Boissard's  Emblems  by  Messin 
(1588,  pp.  40,  41),  give  the  same  sentiment,  and  in  the  Latin 
by  a  few  brief  lines, — 

"  Non  omnis  vivit,  vitd  qui  spiral  in  istd  : 

Sed  qui  post  fati  funera  vivit  adhuc  : 
Et  cui  posteritas  famce  prceconia  servat 
Sternum  is,  calamo  vindice,  nomen  habet? 

Thus  having  the  main  idea  taken  up  in  the  last  of  the  four 
French  stanzas, — 

"  Mais  qui  de  ses  vertus  la  plume  a  pour  garand  : 
Celuy  contre  le  temps  invincible  se  rend : 
Car  elle  vainc  du  temps  &  I'effort,  &  1'injure'." 

In  various  instances,  only  with  greater  strength  and  beauty, 
Shakespeare  gives  utterance  to  the  same  sequences  of  thought. 
When,  in  Love's  Labour's  Lost  (act  i.  sc.  I,  1.  I,  vol.  ii.  p.  97), 
fashioning  his  court  to  be, — 

"  A  little  Academe, 
Still  and  contemplative  in  living  art," 

Ferdinand,  king  of  Navarre,  proclaims, — 

"  Let  Fame,  that  all  hunt  after  in  their  lives, 
Live  registered  upon  our  brazen  tombs, 
And  then  grace  us  in  the  disgrace  of  death  ; 
When,  spite  of  cormorant  devouring  Time, 
The  endeavour  of  this  present  breath  may  buy 
That  honour  which  shall  bate  his  scythe's  keen  edge, 
And  make  us  heirs  of  all  eternity." 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  445 

In  his  Sonnets,  more  especially,  Shakespeare  celebrates  the 
enduring  glory  of  the  mind's  treasures.  Thus,  the  55th  Sonnet 
(Works,  vol.  ix.  p.  578)  is  written  almost  as  Whitney  wrote, — 

"  Not  marble,  nor  the  gilded  monuments 
Of  princes,  shall  outlive  this  powerful  rhyme  ; 
But  you  shall  shine  more  bright  in  these  contents, 
Than  unsvvept  stone,  besmear'd  with  sluttish  lime. 
When  wasteful  war  shall  statues  overturn, 
And  broils  root  out  the  work  of  masonry, 
Nor  Mars  his  sword,  nor  war's  quick  fire  shall  burn 
The  living  record  of  your  memory. 
'Gainst  death  and  all-oblivious  enmity, 
Shall  you  pace  forth  ;  your  praise  shall  still  find  room, 
Even  in  the  eyes  of  all  posterity 
That  wear  this  world  out  to  the  ending  doom. 
So,  till  the  judgment  that  yourself  arise, 
You  live  in  this,  and  dwell  in  lovers'  eyes." 

But  the  65th  Sonnet  (p.  583)  is  still  more  in  accordance  with 
Whitney's  ideas, — not  a  transcript  of  them,  but  an  appro- 
priation,— 

"  Since  brass,  nor  stone,  nor  earth,  nor  boundless  sea, 

But  sad  mortality  o'ersways  their  power, 

How  with  this  rage  shall  beauty  hold  a  plea, 

Whose  action  is  no  stronger  than  a  flower  ? 

O  how  shall  summer's  honey  breath  hold  out 

Against  the  wreckful  siege  of  battering  days, 

When  rocks  impregnable  are  not  so  stout, 

Nor  gates  of  steel  so  strong,  but  Time  decays  ? 

O  fearful  meditation  !  where,  alack ! 

Shall  Time's  best  jewel  from  Time's  chest  lie  hid  ? 

Or  what  strong  hand  can  hold  his  swift  foot  back  ? 

Or  who  his  spoil  of  beauty  can  forbid  ? 
No  one,  unless  this  miracle  have  might, 
That  in  black  ink  my  love  may  still  shine  bright." 

How  closely,  too,  are  these  thoughts  allied  to  some  in  that 
Emblem  (p.  197)  in  which  Whitney,  following  Hadrian  Junius, 
so  well  celebrates  "  the  eternal  glory  of  the  pen." 


446 


CLASSIFICA  TION. 


[CHAP.  VI. 


Pennae  gloria  immortalis. 
Ad  lacobum  Blondelium, 


Junius,  1565.* 

He  has  been  telling  of  Sidney's  praise,  and  in  a  well-turned 
compliment  to  him  and  to  his  other  friend,  "  EDWARDE  DlER," 
makes  the  award, — 

"  This  Embleme  lo,  I  did  present,  vnto  this  woorthie  Knight. 
Who,  did  the  same  refuse,  as  not  his  proper  due  : 
And  at  the  first,  his  sentence  was,  it  did  belonge  to  you. 
Wherefore,  lo,  fame  with  trompe,  that  mountes  vnto  the  skye : 
And,  farre  aboue  the  highest  spire,  from  pole,  to  pole  dothe  flye, 
Heere  houereth  at  your  will,  with  pen  adorn'd  with  baies  : 
Which  for  you  bothe,  shee  hath  prepar'd,  vnto  your  endlesse  praise. 
The  laurell  leafe  for  you,  for  him,  the  goulden  pen ; 
The  honours  that  the  Muses  giue,  vnto  the  rarest  men. 
Wherefore,  proceede  I  praye,  vnto  your  lasting  fame  ; 
For  writinges  last  when  wee  bee  gonne,  and  doe  preserue  our  name. 
And  whilst  wee  tarrye  heere,  no  treasure  can  procure, 
The  palme  that  waites  vpon  the  pen,  which  euer  doth  indure. 


The  original  lines  by  Hadrian  Junius  are, 


"  Oculata,pennisfulta,  sublimem  i>ehens 
Calamum  aurea  inter  astra  Fama  collocat. 
Illustre  claris  surgit  e  scriptis  decns, 
Feritque  perpes  "vertice  alia  sidera." 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  447 

Two  thousand  yeares,  and  more,  HOMERVS  wrat  his  booke  ; 

And  yet,  the  same  doth  still  remayne,  and  keepes  his  former  looke. 

Wheare  vEgypte  spires  bee  gonne,  and  ROME  doth  ruine  feele, 

Yet,  both  begonne  since  he  was  borne,  thus  time  doth  turne  the  wheele. 

Yea,  thoughe  some  Monarche  greate  some  worke  should  take  in  hand, 

Of  marble,  or  of  Adamant,  that  manie  worldes  shoulde  stande, 

Yet,  should  one  only  man,  with  labour  of  the  braine, 

Bequeathe  the  world  a  monument,  that  longer  shoulde  remaine, 

And  when  that  marble  waules,  with  force  of  time  should  waste  ; 

It  should  indure  from  age,  to  age,  and  yet  no  age  should  taste." 

"  Ex  MALO  BONUM," — Good  out  of  evil, — contains  a  senti- 
ment which  Shakespeare  not  unfrequently  expresses.  An  in- 
stance occurs  in  the  Midsummer  Night's  Dream  (act  i.  sc.  i, 
1.  232,  vol.  ii.  p.  206), — 

"  Things  base  and  vile,  holding  no  quantity, 
Love  can  transpose  to  form  and  dignity." 

Also  more  plainly  in  Henry    V.  (act  iv.  sc.   i,  1.  3,  vol.  iv. 

"  God  Almighty  ! 

There  is  some  soul  of  goodness  in  things  evil, 
Would  men  observingly  distil  it  out. 
For  our  bad  neighbour  makes  us  early  stirrers, 
Which  is  both  healthful  and  good  husbandry  : 
Besides  they  are  our  outward  consciences, 
And  preachers  to  us  all,  admonishing 
That  we  should  dress  us  fairly  for  our  end. 
Thus  we  may  gather  honey  from  the  weed, 
And  make  a  moral  of  the  devil  himself !  " 

So  in  Georgette  Montenay's  Christian  Emblems  we  find  the 

stanzas,^— 

"  On  tire  bien  des  epines  poignantes 

Rose  tres  bonne:  &>  pleine  de  beaute. 

Des  reprouuer  &*  leurs  osuures  meschantes 

Dieu  tiret  aussi  du  bien  par  sa  bonte, 

Faisant  seruir  leur  fansse  volonti 

A  sa  grand'  gloire  &  salut  des  esleuz, 

Etpar  iustice,  ainsi  qtf  a  decrete, 

Dieu  fait  tout  bien;  que  nul  rfen  doute  plus? 


CLASSIFICATION. 


[CHAP.  VI. 


As  we  have  mentioned  before  (pp.  242,  3),  Ovid's  Metamor- 
phoses are  the  chief  source  to  which,  from  his  time  downwards, 
poets  in  general  have  applied  for  their  most  imaginative  and 
popular  mythic  illustrations ;  and  to  him  especially  have  Emblem 
writers  been  indebted.  For  a  fact  so  well  known  a  single 
instance  will  suffice ;  it  is  the  description  of  Chaos  and  of  the 
Creation  of  the  World  (bk.  i.  fab.  i),— 

"  Ante  mare  et  terras,  et  quod  tegit  omnia,  coelum, 
Unus  erat  toto  naturae  vultus  in  orbe, 
Quern  dixere  Chaos  :  rudis  indigestaque  moles." 

An  early  Italian  Emblematist,  Gabriel  Symeoni,  in  1559, 
presents  on  this  subject  the  following  very  simple  device  in  his 
Vila  et  Metamorfoseo  d'Ovidio  (p.  12),  accompanied  on  the  next 
page  by  "  The  creation  and  confusion  of  the  world," — 

II  Caos. 


i.e. 


Symeoni,  1559. 

"  Primafuit  rerum  confusa  sine  or  dine  moles, 
Vnaq.  erat  fades  sydera,  terra,  j "return? 

First  was  there  a  confused  mass  of  things  without  order, 
And  one  appearance  was  stars,  earth,  sea." 


But  Ovid's  lines  are  applied  in  a  highly  figurative  sense,  to 
show  the  many  evils  and  disorders  of  injustice.  A  wild  state 
where  wrong  triumphs  and  right  is  unknown, — that  is  the  Chaos 


SECT.  VIII.] 


MORAL    AND    AESTHETIC. 


449 


which    Anulus    sets    forth    in   his    "  PICTA    POESIS "    (p.    49)  ; 
Without  justice,  confusion. 

SINE    IVSTITIA,    CONFVSIO. 


Aneau,  1555. 

Si  TERRAE  Ccelum  femifceat :  £f  mare  ccelo. 

Sol  Erebo.  Tf.nebris  lumina,  Terra  Polo. 
Qualtuor  &  Mundi  mixtim  primordia  pugnent. 

Art  da  cumjiccis,  algida  cum  calidis. 
In  Chaos  antiquum  omnia  denique  confundantur : 

Vt  cum  ignotus  adhuc  mens  Deus  orbis  erat. 
Eft  Mundanarum  tails  confujlo  rerum. 

Quo  Regina  latet  Tempore  luftitia. 

i.e.    "  If  with  earth  heaven  should  mingle  and  the  sea  with  heaven, 

The  sun  with  Erebus,  light  with  darkness,  the  earth  with  the  pole, 
Should  the  four  elements  of  the  world  in  commixture  fight, 

Dry  things  with  the  moist  and  cold  things  with  the  hot, 
Into  ancient  chaos  at  last  all  things  would  be  confounded 

As  when  God  as  yet  unknown  was  the  soul  of  the  globe. 
Such  is  the  confusion  of  all  mundane  affairs, 

At  what  time  soever  Justice  the  queen  lies  concealed." 

Whitney  (p.  122),  borrowing  this  idea  and  extending  it, 
works  it  out  with  more  than  his  usual  force  and  skill,  and 
dedicates  his  stanzas  to  Windham  and  Flowerdewe,  two  emi- 
nent judges  of  Elizabeth's  reign, — but  his  amplification  of  the 
thought  is  to  a  great  degree  peculiar  to  himself.  Ovid,  indeed, 
is  his  authority  for  representing  the  elements  in  wild  disorder, 
and  the  peace  and  the  beauty  which  ensued,— 

"  When  they  weare  dispos'd,  cache  one  into  his  roome." 

3  M 


45°  CLASSIFICATION. 

The  motto,  dedication,  and  device,  are  these, 


[CHAP.  VI. 


Sine  iuftltia,  confufio. 
Ad  eofdem  Indices. 


Whitney,  i 


"  T  T  THEN  Fire,  and  Aire,  and  Earthe,  and  Water,  all  weare  one  : 

'  *     Before  that  worke  deuine  was  wroughte,  which  nowe  wee  looke 

vppon. 

There  was  no  forme  of  thinges,  but  a  confused  masse  : 
A  lumpe,  which  CHAOS  men  did  call :  wherein  no  order  was. 
The  Coulde,  and  Heate,  did  striue  :  the  Heauie  thinges,  and  Lighte. 
The   Harde,   and   Softe.    the    Wette,   and    Drye.   for  none    had    shape 

arighte. 

But  when  they  weare  dispos'd,  cache  one  into  his  roome  : 
The  Fire,  had  Heate  :  the  Aire,  had  Lighte  :  the  Earthe,  with  fruites  did 

bloome. 

The  Sea,  had  his  increase  :  which  thinges,  to  passe  thus  broughte  : 
Behoulde,  of  this  vnperfecte  masse,  the  goodly  worlde  was  wroughte." 

Whitney  then  celebrates  "  The  goulden  worlde  that  Poettes 
praised  moste  ;  "  next,  "  the  siluer  age  ;  "  and  afterwards,  "  the 
age  of  brasse." 

"  The  Iron  age  was  laste,  a  fearefull  cursed  tyme  : 
Then,  armies  came  of  mischiefes  in  :  and  fil'd  the  worlde  with  cryme. 
Then  rigor,  and  reuenge,  did  springe  in  euell  hower  : 
And  men  of  mighte,  did  manadge  all,  and  poore  opprest  with  power. 


SECT.  VIII.]  MORAL    AND    AESTHETIC.  451 

And  hee,  that  mightie  was,  his  worde,  did  stand  for  lawe  : 

And  what  the  poore  did  ploughe,  and  sowe :  the  ritch  away  did  drawe. 

None  mighte  their  wiues  inioye,  their  daughters,  or  their  goodes, 

No,   not  their  Hues  :    such    tyraunts    broode,   did   seeke  to   spill  their 

bloodes. 

Then  vertues  weare  defac'd,  and  dim'd  with  vices  vile, 
Then  wronge,  did  maske  in  cloke  of  righte  :  then  bad,  did  good  exile. 
Then  falshood,  shadowed  truthe  :  and  hate,  laugh'd  loue  to  skorne  : 
Then  pitie,  and  compassion  died  :  and  bloodshed  fowle  was  borne. 
So  that  no  vertues  then,  their  proper  shapes  did  beare  : 
Nor  coulde  from  vices  bee  decern'd,  so  straunge  they  mixed  weare. 
That  nowe,  into  the  worlde,  an  other  CHAOS  came  : 
But  GOD,  that  of  the  former  heape  :  the  heauen  and  earthe  did  frame. 
And  all  thinges  plac'd  therein,  his  glorye  to  declare  : 
Sente  IVSTICE  downe  vnto  the  earthe  :  such  loue  to  man  hee  bare. 
Who,  so  suruay'd  the  world,  with  such  an  heauenly  vewe  : 
That  quickley  vertues  shee  aduanc'd :  and  vices  did  subdue. 
And,  of  that  worlde  did  make,  a  paradice,  of  blisse  : 
By  which  wee  doo  inferre  :  That  where  this  sacred  Goddes  is. 
That  land  doth  florishe  still,  and  gladnes,  their  doth  growe  : 
Bicause  that  all,  to  God,  and  Prince,  by  her  their  dewties  knowe. 
And  where  her  presence  wantes,  there  ruine  raignes,  and  wracke : 
And  kingdomes  can  not  longe  indure,  that  doe  this  ladie  lacke. 
Then  happie  England  most,  where  IVSTICE  is  embrac'd  : 
And  eeke  so  many  famous  men,  within  her  chaire  are  plac'd." 

With  the  description  thus  given  we  may  with  utmost 
appropriateness  compare  Shakespeare's  noble  commendation 
of  order  and  good  government,  into  which,  by  way  of  con- 
trast, he  introduces  the  evils  and  miseries  of  lawless  power. 
The  argument  is  assigned  to  Ulysses,  in  the  Troilus  and 
Cressida  (act  i.  sc.  3,  1.  75,  vol.  vi.  p.  144),  when  the  great 
chieftains,  Agamemnon,  Nestor,  Menelaus,  and  others  are 
discussing  the  state  and  prospects  of  their  Grecian  con- 
federacy against  Troy.  With  great  force  of  reasoning,  as 
of  eloquence,  he  contends, — 

"  Troy,  yet  upon  his  basis,  had  been  down, 
And  the  great  Hector's  sword  had  lack'd  a  master, 
But  for  these  instances. 


452  CLASSIFICATION.  [CHAP.  VI. 

The  specialty  of  rule  hath  been  neglected  : 

And,  look,  how  many  Grecian  tents  do  stand 

Hollow  upon  this  plain,  so  many  hollow  factions. 

When  that  the  general  is  not  like  the  hive, 

To  whom  the  foragers  shall  all  repair, 

What  honey  is  expected  ?     Degree  being  vizarded, 

The  unworthiest  shows  as  fairly  in  the  mask. 

The  heavens  themselves,  the  planets  and  this  centre, 

Observe  degree,  priority  and  place, 

Insisture,  course,  proportion,  season,  form, 

Office  and  custom,  in  all  line  of  order  : 

And  therefore  is  the  glorious  planet  Sol 

In  noble  eminence  enthroned  and  sphered 

Amidst  the  other  ; 

but  when  the  planets 
In  evil  mixture  to  disorder  wander, 
What  plagues  and  what  portents,  what  mutiny, 
What  raging  of  the  sea,  shaking  of  earth, 
Commotion  in  the  winds,  frights,*  changes,  horrors, 
Divert  and  crack,  rend  and  deracinate 
The  unity  and  married  calm  of  states 
Quite  from  their  fixure  !  O,  when  degree  is  shaked, 
Which  is  the  ladder  to  all  high  designs, 
Then  enterprise  is  sick  !  How  could  communities, 
Degrees  in  schools  and  brotherhoods  in  cities, 
Peaceful  commerce  from  dividable  shores, 
The  primogenitive  and  due  of  birth, 
Prerogative  of  age,  crowns,  sceptres,  laurels, 
But  by  degree,  stand  in  authentic  place  ? 
Take  but  degree  away,  untune  that  string, 
And,  hark,  what  discord  follows  !  each  thing  meets 
In  mere  oppugnancy  :  The  bounded  waters 
Should  lift  their  bosoms  higher  than  the  shores, 
And  make  a  sop  of  all  this  solid  globe  : 
Strength  should  be  lord  of  imbecility, 
And  the  rude  son  should  strike  his  father  dead  : 
Force  should  be  right  ;  or  rather,  right  and  wrong, 
Between  whose  endless  jar  justice  resides, 
Should  lose  their  names,  and  so  should  justice  too. 
Then  everything  includes  itself  in  power, 
Power  into  will,  will  into  appetite  ; 
And  appetite,  an  universal  wolf, 


SECT.  VIII.]  MORAL    AND    ESTHETIC.  453 

So  doubly  seconded  with  will  and  power, 

Must  make  perforce  an  universal  prey, 

And  last  eat  up  himself.     Great  Agamemnon, 

This  chaos,  when  degree  is  suffocate, 

Follows  the  choking. 

And  this  neglection  of  degree  it  is 

That  by  a  pace  goes  backward,  with  a  purpose 

It  hath  to  climb.     The  general's  disdain'd 

By  him  one  step  below  ;  he,  by  the  next  ; 

That  next  by  him  beneath  :  so  every  step, 

Exampled  by  the  first  pace  that  is  sick 

Of  his  superior,  grows  to  an  envious  fever 

Of  pale  and  bloodless  emulation  : 

And  'tis  this  fever  that  keeps  Troy  on  foot, 

Not  her  own  sinews.     To  end  a  tale  of  length, 

Troy  in  our  weakness  stands,  not  in  her  strength.'' 

At  a  hasty  glance  the  two  passages  may  appear  to  have 
little  more  connection  than  that  of  similarity  of  subject, 
leading  to  several  coincidences  of  expression  ;  but  the  Em- 
blem of  Chaos,  given  by  Whitney,  represents  the  winds, 
the  waters,  the  stars  of  heaven,  all  in  confusion  mingling, 
and  certainly  is  very  suggestive  of  the  exact  words  which 
the  dramatic  poet  uses, — 

"  What  raging  of  the  sea?  shaking  of  earth  ? 
Commotion  in  the  winds  ? 

The  bounded  waters 

Should  lift  their  bosoms  higher  than  the  shores, 
And  make  a  sop  of  all  this  solid  globe." 

Discord  as  one  of  the  great  causes  of  confusion  is  also 
spoken  of  with  much  force  (i  Henry  VI,,  act  iv.  sc.  I, 
1.  1 88,  vol.  v.  p.  68),— 

"No  simple  man  that  sees 
This  jarring  discord  of  nobility, 
This  should'ring  of  each  other  in  the  court, 
This  factious  bandying  of  their  favourites, 


454 


CLASSIFICA  TION. 


[ClIAP.   VI. 


But  that  he  doth  presage  some  ill  event. 
Tis  much,  when  sceptres  are  in  children's  hands  ; 
But  more  when  envy  breeds  unkind  division  ; 
There  comes  the  ruin,  there  begins  confusion." 

The  Paris  edition  of  Horapollo's  Hieroglyphics,  1551,  sub- 
joins several  to  which  there  is  no  Greek  text  (pp.  217 — 223). 
Among  them  (at  p.  219)  is  one  that  figures,  The  thread  of 
life,  a  common  poetic  idea. 


Horapollo,  ed.  1551. 

Quo  pa6lo  mortem  feu  hominis 
exitum. 

Hominis  exitum  innuentes,  fufum  pingebant,  &  fili  extremum  refeftum,  quafi 
a.  colo  diuulfum,  finguntur  fiquidem  a  poetis  Parcae  hominis  vitam  nere :  Clotho 
quidem  colum  geftans:  Lachefis  quae  Sors  exponitur,  nens :  Atropos  verb 
inconuertibilis  feu  inexorabilis  Latine  redditur,  filum  abrumpens. 


The  question  is  asked,  "  How  do  they  represent  the  death  or 
end  of  man  ?  "  Thus  answered, — "  To  intimate  the  end  of  man 
they  paint  a  spindle,  and  the  end  of  the  thread  cut  off,  as  if 
broken  from  the  distaff:  so  indeed  by  the  poets  the  Fates 
are  feigned  to  spin  the  life  of  man:  Clotho  indeed  bearing 
the  distaff;  Lachesis  spinning  whatever  lot  is  declared  ;  but 


SECT.  VIIL]  MORAL    AND    ESTHETIC.  455 

Atropos,   breaking   the  thread,    is  rendered   unchangeable   and 
inexorable." 

This  thread  of  life  Prospero  names  when  he  speaks  to 
Ferdinand  ( Tempest,  act  iv.  sc.  i,  1.  i,  vol.  i.  p.  54)  about 
his  daughter, — 

"  If  I  have  too  austerely  punish'd  you, 
Your  compensation  makes  amends  ;  for  I 
Have  given  you  here  a  thread*  of  mine  own  life 
Or  that  for  which  I  live." 

"  Their  thread  of  life  is  spun,"  occurs  in  2  Henry  VI.  (act  iv. 

SC.  2,  1.  27). 

So  the  "  aunchient  Pistol,"  entreating  Fluellen  to  ask  a 
pardon  for  Bardolph  (Henry  V.,  act  iii.  sc.  6,  1.  44,  vol.  iv. 
p.  544),  says,— 

"  The  duke  will  hear  thy  voice  ; 
And  let  not  Bardolph's  vital  thread  be  cut 
With  edge  of  penny  cord  and  vile  reproach. 
Speak,  captain,  for  his  life,  and  I  will  thee  requite." 

The  full  application  of  the  term,  however,  is  given  by 
Helena  in  the  Pericles  (act  i.  sc.  2,  1.  102,  vol.  ix.  p.  325), 
when  she  says  to  the  Prince  of  Tyre, — 

"  Antiochus  you  fear, 

And  justly  too,  I  think,  you  fear  the  tyrant, 
Who  either  by  public  war  or  private  treason 
Will  take  away  your  life. 
Therefore,  my  lord,  go  travel  for  a  while, 
Till  that  his  rage  and  anger  be  forgot, 
Or  till  the  Destinies  do  cut  his  thread  of  life." 

The  same  appendix  to  Horapollo's  Hieroglyphics  (p.  220) 
assigns  a  burning  lamp  as  the  emblem  of  life  ;  thus, — 

*  "A  third,"  in  the  modern  sense  of  the  word,  is  just  nonsense,  and  therefore  we 
leave  the  reading  of  the  Cambridge  edition,  and  abide  by  those  critics  who  tell  us 
that  thread  was  formerly  spelt  thrid  or  third.  See  Johnson  and  Steevens'  Shakspeare, 
vol.  i.  ed.  1785,  p.  92. 


456 


CLASSIFICA  TION. 


[CHAP.   VI. 


Horapollo,  ed.  1551. 

Quo  modo  vitam. 

Vitam  innuentes  ardentem  lampada  pingebant :  quod  tantifper  dum  accenfa 
lampas  eft,  luceat,  extinfta  vero  tenebras  offundat.  ita  &  anima  corpore  foluta,  & 
afpeftu  &  luce  caremus. 

"  To  intimate  life  they  paint  a  burning  lamp  ;  because  so  long  as  the 
lamp  is  kindled  it  gives  forth  light,  but  being  extinguished  spreads  darkness  ; 
so  also  the  soul  being  freed  from  the  body  we  are  without  seeing  and  light." 

This  Egyptian  symbol  Cleopatra  names  just  after  Antony's 
death  (Antony  and  Cleopatra,  act  iv.  sc.  15, 1.  84,  vol.  ix.  p.  132),— 

"  Ah,  women,  women,  look 
Our  lamp  is  spent,  it's  out." 

Similar  the   meaning  when  Antony  said  (act  iv.  sc.   14,  1.  46, 

vol.  ix.  p.  123), — 

"  Since  the  torch  is  out, 
Lie  down  and  stray  no  farther." 

Of  the  Emblems  which  depict  moral  qualities  and  sesthetical 
principles,  scarcely  any  are  more  expressive  than  that  which 
denotes  an  abiding  sense  of  injury.  This  we  can  trace  through 
Whitney  (p.  183)  to  the  French  of  Claude  Paradin  (fol.  160),  and 
to  the  Italian  of  Gabriel  Symeoni  (p.  24).  It  is  a  sculptor,  with 
mallet  and  chisel,  cutting  a  memorial  of  his  wrongs  into  a  block 


SKCT.  VIII.] 


MORAL    AND    AESTHETIC. 


of  marble  ;  the  title,  Of  offended  Poverty,  and  the  motto,  "Being 
wronged  he  writes  on  marble." 


Scribit  in 
marmore 
laefus. 


DI      POVERTA 

O  F  F  E  S  A. 


Giovio  and  Symeoni,  1562. 

Tempri  /'  ira  veloce  ogniun,  che  <viue, 
Et  per  ejjer  patents  non  ha  cur  a, 
Difar'  altrui  talhor  danno  o  paura, 
Che  /'  offefo  Vingluria  in  marmo  fcriue. 


Like  the  other  "  Imprese  "  of  the  "  TETRASTICHI  MORALI," 
the  woodcut  is  surrounded  by  a. curiously  ornamented  border, 
and  manifests  much  artistic  skill.  The  stanza  is, — 

"  Each  one  that  lives  may  be  swift  passion's  slave, 
And  through  a  powerful  will  at  times  delight 
In  causing  others  harm  and  terror's  fright : 
The  injured  doth  those  wrongs  on  marble  grave." 

The  "DEVISES  HEROIQVES"  adds  to  the  device  a  simple 
prose  description  of  the  meaning  of  the  Emblem,— 

3  N 


458 


CLASSJFICA  TION. 


Scribit  in  marmore  lefus. 


[CHAP.  VI. 


Paradin,  1562. 

Certains  fols  euentes  /  a/eurans  tropfus  leur  credit  &  richeffes,  ne  font  point  cas 
d'iniurier  ou  gourmander  de  faift  Sf  de  paroles  <vne  pauure  perfonne,  eftimans  que  a 
faute  de  biens,  de  faueur,  de  par  ens  t  ou  d' amis  elle  rf  aura  jamais  le  moyen  de  fe 
<venger,  ou  leur  redre  la  pareille,  ains  qu'elle  doiue  lien  tofl  oublier  le  mat  qu'elle 
a  receu.  Or  combien  ces  Tirans  (c'efl  leur  propre  nom]  foyent  abufez,  de  leur  grande 
folie  &  ignorance,  Voccajion  6f  le  temps  le  leur  fera  a  la  Jin  connoiftre,  apres  les 
auoir  admoneftez  par  cefte  Deuife  d^wn  homme  ajflis,  qui  graue  en  <vn  tableau  de 
marbre  ce  qu'il  a  en  memoire  auec  ces  parolles  :  Scribit  in  marmore  laesus.  (f.  160.) 

The  word  here  propounded  is  of  very  high  antiquity.  The 
prophet  Jeremiah  (xvii.  I  and  13)  set  forth  most  forcibly  what 
Shakespeare  names  "  men's  evil  manners  living  in  brass  ; "  and 
Whitney,  "  harms  graven  in  marble  hard."  "  The  sin  of  Judah 
is  written  with  a  pen  of  iron,  and  with  the  point  of  a  diamond  : 
it  is  graven  upon  the  table  of  their  heart,  and  upon  the  horns  of 
your  altars."  And  the  writing  in  water,  or  in  the  dust,  is  in  the 
very  spirit  of  the  declaration,  "  They  that  depart  from  me  shall 
be  written  in  the  earth," — i.e.,  the  first  wind  that  blows  over  them 
shall  efface  their  names, — "because  they  have  forsaken  the 
LORD,  the  fountain  of  living  waters." 

Some  of  Shakespeare's  expressions, — some  of  the  turns  of 
thought,  when  he  is  speaking  of  injuries, — are  so  similar  to  those 
used  by  the  Emblem  writers  in  treating  of  the  same  subject,  that 
we  reasonably  conclude  "  the  famous  Scenicke  Poet,  Master  W. 
Shakespeare,"  was  intimate  with  their  works,  or  with  the  work  of 


SECT.  VIII.]  MORAL    AND    ESTHETIC.  459 

some  one  out  of  their  number  ;  and,  as  will  appear  in  a  page 
or  two,  very  probably  those  expressions  and  turns  of  thought 
had  their  origin  in  the  reading  of  Whitney's  Choice  of  Emblemes 
rather  than  in  the  study  of  the  French  and  Italian  authors. 

Of  the  same  cast  of  idea  with  the  lines  illustrative  of  Scribit 
in  marmore  Icesus,  are  the  words  of  Marc  Antony's  oration  over 
Caesar  (Julius  Ccesar,  act  iii.  sc.  2,  1.  73,  vol.  vii.  p.  375), — 

"  I  come  to  bury  Caesar,  not  to  praise  him. 
The  evil  that  men  do  lives  after  them  ; 
The  good  is  oft  interred  with  their  bones  ; 
So  let  it  be  with  Caesar." 

A  sentiment,  almost  the  converse  of  this,  and  of  higher  moral 
excellence,  crops  out  where  certainly  we  should  not  expect  to 
find  it — in  the  Timon  of  Athens  (act  iii.  sc.  5,1.31,  vol.  vii.  p.  254), — 

"  He's  truly  valiant  that  can  wisely  suffer 
The  worst  that  man  can  breathe,  and  make  his  wrongs 
His  outsides,  to  wear  them  like  his  raiment,  carelessly, 
And  ne'er  prefer  his  injuries  to  his  heart, 
To  bring  it  into  danger. 
If  wrongs  be  evils  and  enforce  us  kill, 
What  folly  'tis  to  hazard  life  for  ill !  " 

In  that  scene  of  unparalleled  beauty,  tenderness,  and  simpli- 
city, in  which  there  is  related  to  Queen  Katharine  the  death  of 
"  the  great  child  of  honour,"  as  she  terms  him,  Cardinal  Wolsey 
(Henry  VIIL,  act  iv.  sc.  2,  1.  27,  vol.  vi.  p.  87),  Griffith  describes 
him  as,  «  Full  of  repentance) 

Continual  meditations,  tears  and  sorrows, 

He  gave  his  honours  to  the  world  again, 

His  blessed  part  to  heaven,  and  slept  in  peace." 

And  just  afterwards  (1.  44),  when  the  Queen  had  been  speaking 
with  some  asperity  of  the  Cardinal's  greater  faults,  Griffith  re- 
monstrates,— «  Noble  Madam> 

Men's  evil  manners  live  in  brass  ;  their  virtues 
We  write  in  water.     May  it  please  your  highness 
To  hear  me  speak  his  good  now?" 


460  CLASSIFICATION.  [CHAP.  VI. 

How   very  like   to   the  sentiment   here    enunciated    is   that   of 
Whitney  (p.  183),— 

"  T  N  marble  harde  our  harmes  wee  alwayes  graue, 

Bicause,  wee  still  will  beare  the  same  in  minde  : 
In  duste  wee  write  the  benifittes  wee  haue, 
Where  they  are  soone  defaced  with  the  winde. 
So,  wronges  wee  houlde,  and  neuer  will  forgiue, 
And  soone  forget,  that  still  with  vs  shoulde  Hue." 

Lavinia's  deep  wrongs  {Titus  Andronicus,  act  iv.  sc.  I,  1.  85, 
vol.  vi.  p.  490)  were  written  by  her  on  the  sand,  to  inform 
Marcus  and  Titus  what  they  were  and  who  had  inflicted  them  ; 
and  Marcus  declares, — 

"  There  is  enough  written  upon  this  earth 
To  stir  a  mutiny  in  the  mildest  thoughts 
And  arm  the  minds  of  infants  to  exclaims." 

Marcus  is  for  instant  revenge,  but  Titus  knows  the  power  and 
cruel  nature  of  their  enemies,  and  counsels  (1.  102), — 

"  You  are  a  young  huntsman,  Marcus  ;  let  alone  ; 
And,  come,  I  will  go  get  a  leaf  of  brass, 
And  with  a  gad  of  steel  will  write  these  words, 
And  lay  it  by  :  the  angry  northern  wind 
Will  blow  these  sands,  like  Sibyl's  leaves,  abroad, 
And  where's  your  lesson  then  ?  " 

The  Italian  and  French  Emblems  as  pictures  to  be  looked  at 
would  readily  supply  Shakespeare  with  thoughts  respecting  the 
record  of  "  men's  evil  manners,"  and  of  "  their  virtues,"  but 
there  is  a  closer  correspondence  between  him  and  Whitney ; 
and  allowing  for  the  easy  substitution  of  "brass"  and  of  "water" 
for  "  marble  "  and  "  dust,"  the  parallelism  of  the  ideas  and  words 
is  so  exact  as  to  be  only  just  short  of  being  complete. 

We  must  not,  however,  conceal  what  may  have  been  a 
common  origin  of  the  sentiment  for  all  the  four  writers, — for 
the  three  Emblematists  and  for  the  dramatist,  namely,  a  sen- 
tence written  by  Sir  Thomas  More,  about  the  year  1516,  before 


SECT.  VIII:]  MORAL    AND   AESTHETIC.  461 

even  Alciatus  had  published  his  book  of  Emblems.  Dr.  Percy, 
as  quoted  by  Ayscough  (p.  695),  remarks  that,  "  This  reflection 
bears  a  great  resemblance  to  a  passage  in  Sir  Thomas  More's 
History  of  Richard  III.,  where,  speaking  of  the  ungrateful  turns 
which  Jane  Shore  experienced  from  those  whom  she  had  served 
in  her  prosperity,  More  adds,  'Men  use,  if  they  have  an  evil 
turne,  to  write  it  in  marble,  and  whoso  doth  us  a  good  turne,  we 
write  it  in  duste.' " 

But  the  thought  is  recorded  as  passing  through  the  mind  of 
Columbus,  when,  during  mutiny,  sickness,  and  cruel  tidings  from 
home,  he  had,  on  the  coast  of  Panama,  the  vision  which  Irving 
describes  and  records.  A  voice  had  been  reproving  him,  but 
ended  by  saying,  "  Fear  not,  Columbus,  all  these  tribulations 
are  written  in  marble,  and  are  not  without  cause." 

"  To  write  in  dust,"  however,  has  sometimes  a  simple  literal 
meaning  in  Shakespeare  ;  as  when  King  Edward  (3  Henry  VI. , 
act  v.  sc.  i,  1.  54,  vol.  v.  p.  319),  uses  the  threat, — 

"  This  hand,  fast  wound  about  thy  coal-black  hair, 
Shall,  while  thy  head  is  warm  and  new  cut  off, 
Write  in  the  dust  this  sentence  with  thy  blood, — 
Wind-changing  Warwick  now  can  change  no  more." 

But  in  the  Titus  Andronicus  (act  iii.  sc.  I,  1.  12,  vol.  vi.  p.  472), 
the  phrase  is  of  doubtful  meaning  :  it  may  denote  the  oblivion 
of  injuries  or  the  deepest  of  sorrows,— 

"  In  the  dust  I  write 
My  heart's  deep  languor,  and  my  soul's  sad  tears." 

Whitney  also  has  the  lines  to  the  praise  of  Stephen  Limbert, 
Master  of  Norwich  School  (p.  173),— 

"  Our  writing  in  the  duste,  can  not  indure  a  blaste ; 
But  that  which  is  in  marble  wroughte,  from  age  to  age,  doth  laste." 

It  is  but  justice  to  Shakespeare  to  testify  that  at  times  his 
judgment  respecting  injuries  rises  to  the  full  height  of  Christian 


462 


CLASSIFICA  TION. 


[CHAP.  VI. 


morals.  The  spirit  Ariel  avows,  that,  were  he  human,  his  "  affec- 
tions would  become  tender "  towards  the  shipwrecked  captives 
on  whom  his  charms  had  been  working  (Tempest,  act  v.  sc.  I, 
1.  21,  vol.  i.  p.  64) ;  and  Prospero  enters  into  his  thought  with 
strong  conviction, — 

"  Hast  thou,  which  art  but  air,  a  touch,  a  feeling 
Of  their  afflictions,  and  shall  not  myself, 
One  of  their  kind,  that  relish  all  as  sharply, 
Passion  as  they,  be  kindlier  moved  than  thou  art  ? 
Though  with  their  high  wrongs  I  am  struck  to  the  quick, 
Yet  with  my  nobler  reason  'gainst  my  fury 
Do  I  take  part :  the  rarer  action  is 
In  virtue  than  in  vengeance  :  they  being  penitent, 
The  sole  drift  of  my  purpose  doth  extend 
Not  a  frown  further." 

The  subject  in  this  connection  finds  a  fitting  conclusion 
from  the  words  of  a  later  writer,  communicated  to  me  by  the 
Rev.  T.  Walker,  M.A.,  formerly  of  Nether  Tabley,  in  which  a 
free  forgiveness  of  injuries  is  ascribed  to  the  world's  great  and 
blessed  Saviour, — 

"  Some  write  their  wrongs  on  marble,  He  more  just 
Stoop'd  down  serene,  and  wrote  them  in  the  dust, 
Trod  under  foot,  the  sport  of  every  wind, 
Swept  from  the  earth,  quite  banished  from  his  mind, 
There  secret  in  the  grave  He  bade  them  lie, 
And  grieved,  they  could  not  'scape  the  Almighty's  eye." 


Wfritney,     (Reprint,  1866, /.  43  \ 


CHAP.  VII.]          MISCELLANEOUS    EMBLEMS.  463 


CHAPTER   VII. 

MISCELLANEOUS    EMBLEMS;     RECAPITULATION,    AND 
CONCLUSION. 

MBLEMS  Miscellaneous  will  include 
some  which  have  been  omitted,  or  which 
remain  unclassified  from  not  belonging 
to  any  of  the  foregoing  divisions.  They 
are  placed  here  without  any  attempt  to 
bring  them  into  any  special  order. 

Several  words  and  forms  of  thought 
employed  by  the  Emblem  writers,  and  especially  by  Whitney, 
have  counterparts,  if  not  direct  imitations,  in  Shakespeare's 
dramas  ;  he  often  treats  of  the  same  heroes  in  the  same  way. 

Thus,  in  reference  to  Paris  and   Helen,  Whitney  utters  his 
opinion  respecting  them  (p.  79), — 

"  Thoughe  PARIS,  had  his  HELEN  at  his  will, 
Thinke  ho  we  his  faite,  was  I  LIONS  foule  deface." 

And  Shakespeare  sets  forth  Troilus  (Troilus  and  Cressida,  act  ii. 
sc.  2,  1.  8 1,  vol.  vi.  p.  164)  as  saying  of  Helen, — 

"  Why,  she  is  a  pearl, 

Whose  price  hath  launch'd  above  a  thousand  ships, 

And  turn'd  crown'd  kings  to  merchants." 

And  then,  as  adding  (1.  92),— 

"  O,  theft  most  base, 
That  we  have  stol'n  what  we  do  fear  to  keep  ! 


4<M  MISCELLANEOUS  [CHAP.  V.I  I. 

But  thieves  unworthy  of  a  thing  so  stol'n, 
That  in  their  country  did  them  that  disgrace, 
We  fear  to  warrant  in  our  native  place ! " 

Whitney  inscribes  a  frontispiece  or  dedication  of  his  work 
with  the  letters,  D.  O.  M., — i.e.,  Deo,  Optimo,  Maximo, — "To  God, 
best,  greatest," — and  writes,— 

D.  O.  M. 

INCE  man  is  fraile,  and  all  his  thought es  are  Jinne, 

And  of  him  f elf  e  he  can  no  good  inuent, 
Then  euerie  one,  before  they  oughte  beginne, 
Should  call  on  GOD,  from  whome  all  grace  is  fent  : 
So,  I  befeeche,  that  he  the  fame  nuillfende, 
That,  to  his  praife  I  male  beginne,  and  ende. 

Very  similar  sentiments  are  enunciated  in  several  of  the 
dramas;  as  in  Twelfth  Night  (act  iii.  sc.  4, 1.  340,  vol.  iii.  p.  285), — 

".Taint .of  vice,  whose  strong  corruption 
Inhabits  our  frail  blood." 

In  Henry   VIII.  (act  v.  sc.  3,  1.   10,  vol.  vi.  p.   103),  the    Lord 
Chancellor  says  to  Cranmer,— 

"  But  we  all  are  men, 
In  our  own  nature  frail  and  capable 
Of  our  flesh  ;  few  are  angels." 

Even  Banquo  (Macbeth,  act  ii.  sc.  i,  1.  7,  vol.  vii.  p.  444)  can  utter 

the  prayer, — 

"  Merciful  powers, 

Restrain  in  me  the  cursed  thoughts  that  nature 
Gives  way  to  in  repose ! " 

And    very  graphically  does    Richard    III.  (act  iv.  sc.  2,  1.  65, 
vol.  v.  p.  583)  describe  our  sinfulness  as  prompting  sin,— 

"  But  I  am  in 
So  far  in  blood  that  sin  will  pluck  on  sin." 

Or  as  Romeo  puts  the  case  (Romeo  and  Juliet,  act  v.  sc.  3,  1.  61, 
vol.  vii.  p.  124), — 


CHAP.  VII.]  EMBLEMS.  465 

"  I  beseech  thee,  youth, 
Put  not  another  sin  upon  my  head, 
By  urging  me  to  fury." 

Coriolanus  thus  speaks  of  man's  "unstable  lightness"  (Coriolanus, 
act  iii.  sc.  i,  1.  1 60,  vol.  vi.  p.  344), — 

".Not  having  the  power  to  do  the  good  it  would, 
For  the  ill  which  doth  control  't." 

Human  dependence  upon  God's  blessing  is  well  expressed  by 
the  conqueror  at  Agincourt  (Henry  V.,  act  iv.  sc.  7,  1.  82, 
vol.  iv.  p.  582),— "  Praised  be  God,  and  not  our  strength,  for  it ; " 
and  (act  iv.  sc.  8,  1.  100),— 

"  O  God,  thy  arm  was  here  ! 
And  not  to  us,  but  to  thy  arm  alone 
Ascribe  we  all." 

And  simply  yet  truly  does  the  Bishop  of  Carlisle  point  out  that 
dependence  to  Richard  II.  (act  iii.  sc.  2,  1.  29,  vol.  iv.  p.  164), — 

"  The  means  that  heaven  yields  must  be  embraced, 
And  not  neglected  ;  else,  if  heaven  would, 
And  we  will  not,  heaven's  offer  we  refuse, 
The  proffer'd  means  of  succour  and  redress." 

The  closing  thought  of  Whitney's  whole  passage  is  embodied 
in  Wolsey's  earnest  charge  to  Cromwell  (Henry  VIIL,  act  iii. 
sc.  2,  1.  446,  vol.  vi.  p.  79),— 

"  Be  just,  and  fear  not  : 

Let  all  the  ends  thou  aim'st  at  be  thy  country's, 
Thy  God's,  and  truth's  ;  then  if  thou  falPst,  O  Cromwell, 
Thou  fall'st  a  blessed  martyr  !  " 

The  various  methods  of  treating  the  very  same  subject  by 
the  professed  Emblem  writers  will  prove  that,  even  with  a  full 
knowledge  of  their  works,  a  later  author  may  yet  allow  scarcely 
a  hint  to  escape  him,  that  he  was  acquainted,  in  some  particular 
instance,  with  the  sentiments  and  expressions  of  his  predecessors  ; 

3  o 


466 


MISCELLANEO  US 


[CHAP.   VII. 


indeed,  that  knowledge  itself  may  give  birth  to  thoughts  widely 
different  in  their  general  character.  To  establish  this  position 
we  offer  a  certain  proverb  which  both  Sambucus  and  Whitney 
adopt,  the  almost  paradoxical  saying,  We  flee  the  things  which 
iv  e  follow,  and  they  flee  us, — 


Quae  fequimur  fugimus,  nosque  fugiunt. 
Ad  Philip.  Apianum. 


SdJiibiicns,  1564. 

QVID  femper  querimur  deejje  nobis  ? 

Cur  nunquam  fatiat  fames  perennis  ? 

Haudres  no s  fugiunt,  loco  folemus 

Ipfi  cederefedfugaciore. 

Mors  nos  arripit  ante  quam  lucremur 

Tantum  quod  cupimus,  Deum  &  precamur, 

Velfi  remfateare  confitendam, 

Res,  &  nos  fugimus  fimulfugaces. 

Ne  Jlnt  diuititz  tibi  dolor i  : 

Ac  <veramjlatuas  beatitatem 

Firmis  rebus,  in  afperaque  vita. 


CHAP.  VII.]  EMBLEMS.  467 

In  both  instances  there  is  exactly  the  same  pictorial  illus- 
tration, indeed  the  wood-block  which  was  engraved  for  the 
Emblems  of  Sambucus,  in  1564,  with  simply  a  change  of  border, 
did  service  for  Whitney's  Emblems  in  1586.  The  device 
contains  Time,  winged  and  flying  and  holding  forward  a  scythe  ; 
a  man  and  woman  walking  before  him,  the  scythe  being  held 
over  their  heads  threateningly,  —the  man  as  he  advances  turning 
half  round  and -pointing  to  a  treasure-box  left  behind.  Sambu- 
cus thus  moralizes,— 

"  What  do  we  querulous  always  deem  our  want  ? 
Why  never  to  hunger  sense  of  fulness  grant  ? 
Wealth  flees  us  not, — but  we  accustomed  are 
By  our  own  haste  its  benefits  to  mar. 
Death  takes  us  off  before  we  reach  the  gain 
Great  as  our  wish  ;  and  vows  to  God  we  feign 
For  wealth  which  fleeing  at  the  time  we  flee, 
Even  when  wealth  around  we  own  to  be. 
O  let  not  riches  prove  thy  spirit's  bane  ! 
Nor  shalt  thou  seek  for  happiness  in  vain, — 
Though  rough  thy  paths  of  life  on  every  hand, 
Firm  on  its  base  thy  truest  bliss  shall  stand." 

Now  Whitney  adopts,  in  part  at  least,  a  much  more  literal 
interpretation  ;  he  follows  out  what  the  figure  of  Time  and  the 
accessory  figures  suggest,  and  so  improves  his  proverb-text  as  to 
found  upon  it  what  appears  pretty  plainly  to  have  been  the 
groundwork  of  the  ancient  song, — "  The  old  English  gentleman, 
one  of  the  olden  time."  The  type  of  that  truly  venerable  cha- 
racter was  "  THOMAS  WILBRAHAM  Esquier"  an  early  patron 
of  Lord  Chancellor  Egerton.  Whitney's  lines  are  (p.  199), — 

"  A  I  TEE  flee,  from  that  wee  seeke  ;  &  followe,  that  wee  leaue  : 

*  *      And,  whilst  wee  thinke  our  webbe  to  skante,  &  larger  still  would 

weaue, 

Lo,  Time  dothe  cut  vs  of,  amid  our  carke  :  and  care. 
Which  warneth  all,  that  haue  enoughe,  and  not  contented  are. 
For  to  inioye  their  goodes,  their  howses,  and  their  landes  : 
Bicause  the  Lorde  vnto  that  end,  commits  them  to  their  handes. 


468  MISCELLANEOUS  [CHAP.  VII. 

Yet,  those  whose  greedie  mindes  :  enoughe,  doe  thinke  too  small  : 

Whilst  that  with  care  they  seeke  for  more,  oft  times  are  reu'd  of  all, 

Wherefore  all  such  (I  wishe)  that  spare,  where  is  no  neede  : 

To  vse  their  goodes  whilst  that  they  may,  for  time  apace  doth  speede. 

And  since,  by  proofe  I  knowe,  you  hourde  not  vp  your  store  ; 

Whose  gate,  is  open  to  your  frende  :  and  puree,  vnto  the  pore  : 

And  spend  vnto  your  praise,  what  GOD  dothe  largely  lende  : 

I  chiefly  made  my  choice  of  this,  which  I  to  you  commende. 

In  hope,  all  those  that  see  your  name,  aboue  the  head  : 

Will  at  your  lampe,  their  owne  come  light,  within  your  steppes  to  tread. 

Whose  daily  studie  is,  your  countrie  to  adorne  : 

And  for  to  keepe  a  worthie  house,  in  place  where  you  weare  borne." 

In  the  spirit  of  one  part  of  these  stanzas  is  a  question  in 
Philemon  Holland's  Plutarch  (p.  5),  "What  meane  you,  my 
masters,  and  whither  run  you  headlong,  carking  and  caring  all 
that  ever  you  can  to  gather  goods  and  rake  riches  together  ? " 

Similar  in  its  meaning  to  the  two  Emblems  just  considered 
is  another  by  Whitney  (p.  218),  Mulier  vmbra  viri, — "Woman 
the  shadow  of  man," — 

R  shadowe  flies,  if  wee  the  same  pursue  : 
But  if  wee  flie,  it  followeth  at  the  heele. 
So,  he  throughe  loue  that  moste  dothe  serue,  and  sue, 
Is  furthest  off  his  mistresse  harte  is  steele. 
But  if  hee  flie,  and  turne  awaie  his  face, 
Shee  followeth  straight,  and  grones  to  him  for  grace." 

This  Emblem  is  very  closely  followed  in  the  Merry  Wives  of 
Windsor  (act  ii.  sc.  2,  1.  187,  vol.  i.  p.  196),  when  Ford,  in 
disguise  as  "  Master  Brook,"  protests  to  Falstaff  that  he  had 
followed  Mrs.  Ford  "  with  a  doting  observance  ; "  "  briefly,"  he 
says,  "  I  have  pursued  her  as  love  hath  pursued  me  ;  which  hath 
been  on  the  wing  of  all  occasions," — 

"  Love  like  a  shadow  flies  when  substance  love  pursues  ; 
Pursuing  that  that  flies,  and  flying  what  pursues." 

Death  in  most  of  its  aspects  is  described  and  spoken  of  by 
the  great  Dramatist,  and  possibly  we  might  hunt  out  some 


CHAP.  VII.] 


EMBLEMS. 


469 


expressions  of  his  which  coincide  with  those  of  the  Emblem 
writers  on  the  same  subject,  but  generally  his  mention  of  death 
is  peculiarly  his  own, — as  when  Mortimer  says  (i  Henry  VI., 
act  ii.  sc.  5,  1.  28,  vol.  v.  p.  40),— 

"  The  arbitrator  of  despairs, 
Just  death,  kind  umpire  of  men's  miseries, 
With  sweet  enlargement  doth  dismiss  me  hence." 

In  his  beautiful  edition  of  Holbein's  Dance  of  Death,  Noel 
Humphreys  (p.  81),  in  describing  the  CANONESS,  thus  conjec- 
tures,— "  May  not  Shake- 
speare have  had  this  device 
in  his  mind  when  penning 
the  passage  in  which 
Othello"  (act  v.  sc.  2,  1.  7, 
vol.  viii.  p.  574),  "deter- 
mining to  kill  Desdemona, 
exclaims,  '  Put  out  the 
light — and  then  —  put  out 
the  light  ? '  " 

The  way,  however,  in 
which  Shakespeare  some- 
times speaks  of  Death  and 
Sleep  induces  the  supposi- 
tion that  he  was  acquaint- 
ed with  those  passages  in 

Holbein's  Simnlachrcs  de  la  Mort  (Lyons,  1538)  which  treat  of 
the  same  subjects  by  the  same  method.  Thus,— 

"  Cicero  disoit  bien  :  Tu  as  le  sommeil  pour  imaige  de  la  Mort,  &  tous 
les  iours  tu  ten  reuestz.  Et  si  doubtes,  sil  y  a  nul  sentiment  a  la  Mort, 
combien  que  tu  voyes  qu'  en  son  simulachre  il  n'y  a  nul  sentimet."  Sign.  Liij 
verso.  And  again,  sign.  Liiij  -verso,  "  La  Mort  est  le  veritable  reffuge,  la 
sante  parfaicte,  le  port  asseure,  la  victoire  entiere,  la  chair  sans  os,  le  poisson 
sans  espine,  le  grain  sans  paille.  ...  La  Mort  est  vng  eternel  sommeil,  vne 
dissolution  du  Corps,  vng  espouuetement  des  riches,  vng  desir  des  pouures, 


Holbein's  Simulachres,  1538. 


470  MISCELLANEOUS  [CHAP.  VII. 

vng  cas  ineuitable,  vng  pelerinaige  in  certain,  vng  larron  des  hSmes,  vne 
Mere  du  dormir,  vne  vmbre  de  vie,  vng  separement  des  viuans,  vne  com- 
paignie  des  Mortz." 

Thus  the  Prince  Henry  by  his  father's  couch,  thinking  him  dead, 
says  (2  Hen.  IV.,  act  iv.  sc.  5,  1.  35,  vol.  iv.  p.  453), — 

"  This  sleep  is  sound  indeed  ;  this  is  a  sleep, 
That  from  this  golden  rigol  hath  divorced 
So  many  English  kings." 

And  still  more  pertinently  speaks  the  Duke  (Measure  for 
Measure,  act  iii.  sc.  I,  1.  17,  vol.  i.  p.  334), — 

"  Thy  best  of  rest  is  sleep, 

And  that  thou  oft  provokest  ;  yet  grossly  fear'st 
Thy  death,  which  is  no  more." 

Again,  before  Hermione,  as  a  statue  (Winters  Tale,  act  v.  sc.  3, 

1.  1 8,  vol.  iii.  p.  423), — 

"  prepare 

To  see  the  life  as  lively  mock'd  as  ever 
Still  sleep  mock'd  death." 

Or  in  Macbeth  (act  ii.  sc.  3,  1.  71,  vol.  vii.  p.  454),  when  Macduff 

raises  the  alarm, — 

"  Malcolm  !  awake  ! 

Shake  off  this  downy  sleep,  death's  counterfeit, 
And  look  on  death  itself !  up,  up,  and  see 
The  great  doom's  image."* 

Finally,  in  that  noble  soliloquy  of  Hamlet  (act  iii.  sc.  I,  lines  60 

— 69,  vol.  viii.  p.  79), — 

"  To  die  :  to  sleep  ; 

No  more  ;  and  by  a  sleep  to  say  we  end 
The  heart-ache,  and  the  thousand  natural  shocks 
That  flesh  is  heir  to  ;  'tis  a  consummation 
Devoutly  to  be  wished.     To  die,  to  sleep  : 
To  sleep  :  perchance  to  dream  :  ay,  there's  the  rub  ; 
For  in  that  sleep  of  death  what  dreams  may  come, 


*  Can  this  be  an  allusion  to  Holbein's  Last  Judgment  and  Escutcheon  of  Death 
in  his  Simulachres  de  la  Mort,  ed.  1538  ? 


CHAP.  VII.]  EMBLEMS.  4?I 

When  we  have  shuffled  off  this  mortal  coil, 
Must  give  us  pause  :  there's  the  respect 
That  makes  calamity  of  so  long  life." 

So  the  Evils  of  Hitman  Life  and  the  Eulogy  on  Death,  ascribed 
in  Holbein's  Simulachres  de  la  Mort  to  Alcidamus,  sign.  Liij 
verso*  may  have  been  suggestive  of  the  lines  in  continuation  of 
the  above  soliloquy  in  Hamlet,  namely  (lines  70 — 76), — 

"  For  who  would  bear  the  whips  and  scorns  of  time, 
The  oppressor's  wrong,  the  proud  man's  contumely, 
The  pangs  of  despised  love,  the  law's  delay, 
The  insolence  of  office,  and  the  spurns 
That  patient  merit  of  the  unworthy  takes, 
When  he  himself  might  his  quietus  make 
With  a  bare  bodkin  ?  " 

To  another  of  the. devices  of  the  Images  of  Death  (Lyons, 
1547),  attributed  to  Holbein,  we  may  also  refer  as  the  source 
of  one  of  the  Dramatist's  descriptions,  in  Douce's  Dance  of  Death, 
(London,  1833,  and  Bonn's,  1858)  ;  the  device  in  question  is 
numbered  XLIII.  and  bears  the  title  of  the  IDIOT  FOOL.  Wolt- 
mann's  Holbein  and  his  Time  (Leipzig,  1868,  vol.  ii.  p.  121), 
names  the  figure  "  jUarr  fcC0  C(foe0," — Deaths  Fool,— and  thus 
discourses  respecting  it.  "Among  the  supplemental  Figures," — 
that  is  to  say,  in  the  edition  of  1545,  supplemental  to  the  forty-one 
Figures  in  the  edition  of  1538, — "is  found  that  of  the  Fool,  which 
formerly  in  the  Spectacle-plays  of  the  Dance  of  Death  repre- 
sented by  living  persons  played  an  important  part.  Also  as 
these  were  no  longer  wont  to  be  exhibited,  the  Episode  of  the 
contest  of  Death  with  the  Fool  was  kept  separate,  and  for  the 
diversion  of  the  people  became  a  pantomimic  representation. 


*  "  Cicero  diet  que  Alcidamus  vng  Rheteur  antique  escripuit  les  louanges  de  la 
Mort,  en  les  quelles  estoient  cotenuz  les  nombres  des  maulx  des  humains,  &  ce  pour 
leur  faire  desirer  la  Moi't.  Car  si  le  dernier  iour  n'amaine  extinction,  mais  commuta- 
tion de  lieu,  Quest  il  plus  a  clesirer  ?  Et  s'il  estainct  &  efface  tout,  Quest  il  rien 
meilleur,  que  de  s'  endormir  au  milieu  des  labeurs  de  ceste  vie  &  ainsi  reposer  en  vng 
sempiternel  sommeil." 


472 


MISCELLANEOUS 


[ClIAP.   VII. 


From  England  expressly  have  we  information  that  this  usage 
maintained  itself  down  to  the  former  century.   The  Fool's  efforts 


Holbein  s  Imagines,  Cologne,  1566. 

and  evasions  in  order  to  escape  from  Death,  who  in  the  end 
became  his  master,  form  the  subject  of  the  particular  figures. 
On  such  representations  Shakespeare  thought  in  his  verses  in 
Measure  for  Measure"  (act  iii.  sc.  I,  lines  6 — 13,  vol.  i.  p.  334). 
Though  Woltmann  gives  only  three  lines,  we  add  the  whole 
passage  better  to  bring  out  the  sense, — 

"  Reason  thus  with  life  : 
If  I  do  lose  thee,  I  do  lose  a  thing 
That  none  but  fools  would  keep  :  a  breath  thou  art, 
Servile  to  all  the  skyey  influences, 
That  dost  this  habitation,  where  thou  keep'st, 
Hourly  afflict  :  merely,  thou  art  death's  fool  ; 
For  him  thou  labour'st  by  thy  flight  to  shun, 
And  yet  runn'st  toward  him  still." 

The  action  described  by  Shakespeare  is  so  conformable  to 
Holbein's  Figures  of  Death  and   the  Idiot  Fool  that,  without 


CHAP.  VII. ]  EMBLEMS.  473 

doing  violence  to  the  probability,  we  may  conclude  that  the  two 
portraits  had  been  in  the  Poet's  eye  as  well  as  in  his  mind. 

Woltmann's  remarks  in  continuation  uphold  this  idea.  He 
says  (vol.  ii.  p.  122),— 

"  Also  in  the  Holbein  picture  the  Fool  is  foolish  enough  to  think  that  he 
can  slip  away  from  Death.  He  springs  aside,  seeks  through  his  movements 
to  delude  him,  and  brandishes  the  leather-club,  in  order  unseen  to  plant  a 
blow  on  his  adversary  ;  and  this  adversary  seems  in  sport  to  give  in,  skips 
near  him,  playing  on  the  bag-pipe,  but  unobserved  has  him  fast  by  the 
garment,  in  order  not  again  to  let  him  loose." 

Old  Time  is  a  character  introduced  by  way  of  Chorus  into 
the  Winter's  Tale  (act  iv.  sc.  i,  1.  7,  vol.  iii.  p.  371),  and  he  takes 
upon  himself  "  to  use  his  wings,"  as  he  says, — 

"  It  is  in  my  power 

To  o'erthrow  law  and  in  one  self-born  hour 
To  plant  and  o'erwhelm  custom.     Let  me  pass 
The  same  I  am,  ere  ancient'st  order  was 
Or  what  is  now  received  :  I  witness  to 
The  times  that  brought  them  in  ;  so  shall  I  do 
To  the  freshest  things  now  reigning,  and  make  stale 
The  glistering  of  this  present." 

Something  of  the  same  paradox  which  appears  in  the  Emble- 
matist's  motto,  "  What  we  follow  we  flee,"  also  distinguishes  the 
quibbling  dialogue  about  time  between  Dromio  of  Syracuse  and 
Adriana  (Comedy  of  Errors,  act  iv.  sc.  2,  1.  53,  vol.  i.  p.  437), — 

"  Dro.  S.  'Tis  time  that  I  were  gone  : 

It  was  two  ere  I  left  him,  and  now  the  clock  strikes  one. 

A  dr.  The  hours  come  back  !  that  did  I  never  hear. 

Dro.  S.  O,  yes  ;  if  any  hour  meet  a  sergeant,  a'  turns  back  for  very  fear. 

Adr.  As  if  Time  were  in  debt  !  how  fondly  dost  thou  reason  ! 

Dro.  S.  Time  is  a  very  bankrupt,  and  owes  more  than  he's  worth  to 

season. 

Nay,  he's  a  thief  too  :  have  you  not  heard  men  say, 
That  Time  comes  stealing  on  by  night  and  day  ? 
If  Time  be  in  debt  and  theft,  and  a  sergeant  in  the  way, 
Hath  he  not  reason  to  turn  back  an  hour  in  a  day  ?" 

3  P 


474  MISCELLANEOUS  [CHAP.  VII. 

Almost  of  the  same  complexion  are  some  of  the  other  strong 
contrasts  of  epithets  which  Shakespeare  applies.  lachimo,  in 
Cymbeline  (act  i.  sc.  6,  1.  46,  vol.  ix.  p.  185),  uses  the  expres- 
sions,— 

"  The  cloyed  will, 

That  satiate  yet  unsatisfied  desire,  that  tub 
Both  fill'd  and  running,  ravening  first  the  lamb, 
Longs  after  for  the  garbage." 

But  "old  fond  paradoxes,  to  make  fools  laugh  i'  the  ale- 
house," are  also  given  forth  from  the  storehouse  of  his  conceits. 
Desdemona  and  Emilia  and  lago  play  at  these  follies  (Othello, 
act  ii.  sc.  i,  1.  129,  vol.  viii.  p.  477),  and  thus  some  of  them  are 
uttered, — 

"  lago.  If  she  be  fair  and  wise,  fairness  and  wit, 
The  one's  for  use,  the  other  useth  it. 

Des.  Well  praised  !     How  if  she  be  black  and  witty  ? 

lago.  If  she  be  black,  and  thereto  have  a  wit, 
She'll  find  a  white  that  shall  her  blackness  fit. 

Des.  But  what  praise  couldst  thou  bestow  on  a  deserving  woman  indeed  ? 
one  that,  on  the  authority  of  her  merit,  did  justly  put  on  the  vouch  of  very 
malice  itself? 

lago.  She  that  was  ever  fair,  and  never  proud, 
Had  tongue  at  will,  and  yet  was  never  loud, 
Never  lack'd  gold,  and  yet  went  never  gay, 
Fled  from  her  wish,  and  yet  said,  now  I  may  ; 

She  was  a  wight,  if  ever  such  wight  were, — 
Des.  To  do  what  ? 
lago.  To  suckle  fools,  and  chronicle  small  beer." 

We  thus  return,  by  a  wandering  path  indeed,  to  the  para- 
doxical saying  with  which  we  set  out, — concerning  "  fleeing 
what  we  follow  ;  "  for  lago's  paragon  of  a  woman, — 

"  Fled  from  her  wish,  and  yet  said,  now  I  may." 

Taken  by  itself,  the  coincidence  of  a  few  words  in  the  dedi- 
cations of  works  by  different  authors  is  of  trifling  importance  ; 


CHAP.  VII.]  EMBLEMS.  475 

but  when  we  notice  how  brief  are  the  lines  in  which  Shakespeare 
commends  his  "  VENUS  AND  ADONIS  "  to  the  patronage  of  the 
Earl  of  Southampton,  it  is  remarkable  that  he  has  adopted  an 
expression  almost  singular,  which  Whitney  had  beforehand 
employed  in  the  long  dedication  of  his  Emblems  to  the  Earl  of 
Leycester.  "  Being  abashed,"  says  Whitney,  "  that  my  habillitie 
can  not  affoorde  them  such,  as  are  fit  to  be  offred  vp  to  so  honor- 
able a  suruaighe  "  (p.  xi)  ;  and  Shakespeare,  "  I  leave  it  to  your 
honourable  survey,  and  your  Honour  to  your  heart's  content." 
Whitney  then  declares,  "yet  if  it  shall  like  your  honour  to 
allowe  of  anie  of  them,  I  shall  thinke  my  pen  set  to  the  booke 
in  happie  hour ;  and  it  shall  incourage  mee,  to  assay  some 
matter  of  more  momente,  as  soon  as  leasure  will  further  my 
desire  in  that  behalfe  ; "  and  Shakespeare,  adopting  the  same 
idea,  also  affirms,  "  only  if  your  Honour  seem  but  pleased,  I 
account  myself  highly  praised  and  vow  to  take  advantage  of  all 
idle  hours,  till  I  have  honoured  you  with  some  graver  labour." 
Comparing  these  passages  together,  the  inference  appears  not 
unwarranted,  that  Whitney's  dedication  had  been  read  by  Shake- 
speare, and  that  the  tenor  of  it  abided  in  his  memory,  and  so 
was  made  use  of  by  him. 

From  the  well-known  lines  of  Horace  (Ode  ii.  10), — 

"  Saepius  ventis  agitatur  ingens 
Pinus  ;  et  celsas  graviore  casu 
Decidunt  turres  ;  feriuntque  summos 
Fulgura  montes,"- 

several  of  the  Emblem  writers,  and  Shakespeare  after  them,  tell 
of  the  huge  pine  and  of  its  contests  with  the  tempests  ;  and  how 
lofty  towers  fall  with  a  heavier  crash,  and  how  the  lightnings 
smite  the  highest  mountains.  Sambucus  (edition  1569,  p.  279) 
and  Whitney  (p.  59)  do  this,  as  a  comment  for  the  injunction, 
Nimium  rebtts  ne  fide  secundis, — "  Be  not  too  confident  in 


476 


MISCELLANEO  US 


[CHAP.   VII. 


prosperity."     In   this   instance   the   stanzas   of  Whitney   serve 
well  to  express  the  verses  of  Sambucus,— 

Nimium  rebus  ne  fide  fecundis. 


Whitney,  1586. 

"  r  I  ^HE  loftie  Pine,  that  on  the  mountaine  growes, 

And  spreades  her  armes,  with  braunches  freshe,  &  greene, 
The  raginge  windes,  on  sodaine  ouerthrowes, 
And  makes  her  stoope,  that  longe  a  farre  was  scene  : 
So  they,  that  truste  to  muche  in  fortunes  smiles, 
Thoughe  worlde  do  laughe,  and  wealthe  doe  moste  abounde, 
When  leste  they  thinke,  are  often  snar'de  with  wyles, 
And  from  alofte,  doo  hedlonge  fall  to  grounde  : 
Then  put  no  truste,  in  anie  worldlie  thinges, 
For  frowninge  fate,  throwes  downe  the  mightie  kinges." 

Antonio,  in  the  Merchant  of  Venice  (act  iv.  sc.  I,  1.  75,  vol.  ii. 
p.  345),  applies  the  thought  to  the  fruitlessness  of  Bassanio's 
endeavour  to  soften  Shylock's  stern  purpose  of  revenge, — 

"  You  may  as  well  forbid  the  mountain  pines 
To  wag  their  high  tops,  and  to  make  no  noise 
When  they  are  fretten  with  the  gusts  of  heaven." 

And  when  "  dame  Eleanor  Cobham,  Gloster's  wife,"  is 
banished,  and  her  noble  husband  called  on  to  give  up  the  Lord 


CHAP.  VII.]  CORRESPONDENT    TERMS,  477 

Protector's  staff  of  office  (2  Henry  VL,  act  ii.  sc.  3,  1.  45,  vol.  v. 
p.  145),  Suffolk  makes  the  comparison, — 

"  Thus  droops  this  lofty  pine,  and  hangs  his  sprays  ; 
Thus  Eleanor's  pride  dies  in  her  youngest  days." 

So,  following  almost  literally  the  words  of  Horace,  the 
exiled  Belarius,  in  Cymbeline  (act  iv.  sc.  2,  1.  172,  vol.  ix. 
p.  253),  declares  of  the  "two  princely  boys,"  that  passed 
for  his  sons, — 

"  They  are  as  gentle 
As  zephyrs  blowing  below  the  violet, 
Not  wagging  his  sweet  head ;  and  yet  as  rough, 
Their  royal  blood  enchafed,  as  the  rudest  wind 
That  by  the  top  doth  take  the  mountain  pine 
And  make  him  stoop  to  the  vale." 

Words,  which,  though  now  obsolete,  were  in  current  use  in 
the  days  of  Surrey,  Sidney,  Spenser,  and  Shakespeare,  cannot 
of  themselves  be  adduced  in  evidence  of  any  interchange  of 
ideas  ;  but  when  the  form  of  the  sentence  and  the  application 
of  some  peculiar  term  agree,  we  may  reasonably  presume  that 
it  has  been  more  than  the  simple  use  of  the  same  common 
tongue  which  has  caused  the  agreement.  When,  indeed,  one 
author  writes  in  English,  and  the  others  in  Latin,  or  Italian, 
or  French,  we  cannot  expect  much  more  than  similarity  of 
idea  in  treating  of  the  same  subject,  and  a  mutual  inter- 
communion of  thought  ;  but,  in  the  case  of  authors  employing 
the  same  mother  tongue,  there  are  certain  correspondencies 
in  the  use  of  the  same  terms  and  turns  of  expression  which 
betoken  imitation. 

Such  correspondencies  exist  between  Whitney  and  Shake- 
speare, as  may  be  seen  from  the  following  among  many  other 
instances.  I  adopt  the  old  spelling  of  the  folio  edition  of  Shake- 
speare, 1632,— 


MISCELLANEO  US 


[CHAP.  VII. 


Abroach 


a-worke 


Banne  . 


Gates    . 


create   . 


Whitney,  p.  7  ... 
Rom.  and  J.\.i.  1.  102 
2  Hen.  IV.  iv.  2,  14  . 

Whitney,  p.  vi.  .  .  . 
2  Hen.  IV.  iv.  3,  107  . 

K.  Lear,  iii.  5,  5  .  . 
Whitney,  p.  189 

Hamlet,  iii.  2,  246  .     . 

1  Hen.  VI.  v.  3,  42 

2  Hen.  VI.  ii.  4,  25      . 
Whitney,  p.  18  .     .     . 
C.  Errors,  iii.  i,  28     . 
i  Hen.  IV.  iii.  i,  163  . 


Erksome 


Whitney,  p.  64  .     . 
M.  N.  Dr.  v.  i,  394 

K.  John,  iv.  i,  106 

Hen.  V.  ii.  2,  31 
Whitney,  p.  1 1 8      . 

T.  of  Shrew,  i.  2,  182 
2  Hen.  VI.  ii.  i,  56 


And  bluddie  broiles  at  home  are  set 

abroache. 
Who    set   this   ancient   quarrell   new 

abroach  ? 
Alacke,  what  Mischeifes  might  be  set 

abroach. 

They  set  them  selues  a  worke. 
Skill  in  the  Weapon  is  nothing,  with- 
out Sacke  (for  that  sets  it  a-worke). 
—  a  provoking  merit  set  a-worke  by 

a  reprovable  badnesse  in  himselfe. 

The  maide  her  pacience  quite  forgot 

And  in  a  rage,  the  brutishe  beaste  did 

banne. 
With  Hecats  ban,  thrice  blasted,  thrice 

infected. 
Fell    banning    Hagge,    Inchantresse 

hold  thy  tongue. 
And  banne  thine  Enemies,  both  mine 

and  thine. 
Whose  backe  is  fraughte  with  cates 

and  daintie  cheere. 
But  though  my  cates  be  meane,  take 

them  in  good  part. 

I  had  rather  live 

With  Cheese  and  Garlike  in  a  Wind- 
mill far 
Then  feed  on   Cates,  and  liave  him 

talke  to  me 
In  any  Summer  House  in  Christen- 

dome. 

Not  for  our  selues  alone  wee  are  create. 
And  the  issue  there  create 
Ever  shall  be  fortunate. 

The  fire  is  dead  with  griefe 
Being  create  for  comfort. 
With  hearts  create  of  duty  and  of  zeal. 
With   erksome  noise    and    eke  with 

poison  fell. 
I  know  she  is  an  irkesome  brawling 

scold. 
How  irkesome  is  this  Musicke  to  my 

heart  ! 


CHAP.  VII.] 
Ingrate 


CORRESPONDENT    TERMS. 


479 


Vnrest  . 


Whitney,  p.  64  .     .     .     And  those  that  are  vnto  theire  frendes 

ingrate. 

T.  of  Shrew,  i.  2,  266 .     Will  not  so  gracelesse  be,  to  be  in- 
grate. 
CorioL  v.  2,  80  .     .     .     Ingrate    forgetfulness     shall    poison 

rather. 

Prejudicate    Whitney,  xiii.     .     .     .     The  enuious,  who  are  alwaies  readie 

with  a  prejudicate  opinion  to  con- 
dempe. 
All's  Well,  i.  2,  7  .     .  wherein  our  deerest  friend 

Prejudicates  the  businesse. 
Ripes     .      .    Whitney,  p.  23   .     .     .     When    autumne    ripes    the    frutefull 

fieldes  of  grane. 
-  yon  greene   Boy  shall  haue  no 

Sunne  to  ripe 
The  bloome  that  promiseth  a  mighty 

fruit. 
It  shewes  her  selfe  doth  worke  her 

own  vnrest. 
Witnessing   Stormes   to   come,  Woe 

and  Vnrest. 
And  so  repose  sweet  Gold  for  their 

unrest. 
So,  manie  men  do  stoope  to  sightes 

vnsure: 

Exposing  what  is  mortal  and  unsure. 
Thoughts    speculative    their    unsure 

hopes  relate. 

And  wisdome  still,  against  such  vn- 
thriftes  cries. 

my  Rights  and  Royalties 
Pluckt  from  my  armes  perforce,  and 

giuen  away 
To  upstart  Vnthriftes. 
What  man  didd'st  thou  euer  knowe 
unthrifte  that  was  beloved  after 
his  meanes  ? 
M.  Venice,  v.  i,  16.     .     And  with  an  unthrift  love  did  run 

from  Venice 
As  far  as  Belmont* 


vnsure  . 


vnthrifte 


K.  John,  ii.  i,  472  . 

Whitney,  p.  94  .  . 

Rich.  IL  ii.  4,  22  . 

T.  An.  ii.  3,  8     .  . 
Whitney,  p.  191 

Hamlet,  iv.  4,  5 1  . 

Macbeth,  v.  4,  19  . 

Whitney,  p.  17  .  . 

Rich.  II.  ii.  3,  120  . 

Timon,  iv.  3,  307  . 


*  For  many  other  instances  of  similarities  in  the  use  of  old  words,   see  the 
APPENDIX,  I.  p.  497. 


480 


MISCELLANEO  US 


[CHAP.  VII. 


So  close  are  some  of  these  correspondencies  that  they  can 
scarcely  be  accounted  for  except  on  the  theory  that  Shakespeare 
had  been  an  observant  reader  of  Whitney's  Emblems. 

There  are  also  various  expressions,  or  epithets,  which  the 
Emblem-books  may  be  employed  to  illustrate,  and  which 
receive  their  most  natural  explanation  from  this  same  theory 
that  Shakespeare  was  one  of  the  very  numerous  host  of 
Emblem  students  or  readers.  Perriere's  account  of  a  man 
attempting  to  swim  with  a  load  of  iron  on  his  back 
(Emb.  70),  is  applied  by  Whitney  with  direct  reference 
to  the  lines  in  Horace,  "  O  cursed  lust  of  gold,  to  what 
dost  thou  not  compel  mortal  bosoms  ? "  He  sets  off  the 
thought  by  the  device  of  a  man  swimming  with  "  a  fardle,"  or 
heavy  burden  (p.  179), — 


Aurifacra  fames 


Whitney,  1586. 


"  TAESIRE  to  haue,  dothe  make  vs  muche  indure, 
***   In  trauaile,  toile,  and  labour  voide  of  reste  : 
The  marchant  man  is  caried  with  this  lure, 
Throughe  scorching  heate,  to  regions  of  the  Easte  : 
Oh  thirste  of  goulde,  what  not  ?  but  thou  canst  do  : 
And  make  mens  hartes  for  to  consent  thereto. 


CHAP.  VII.]  CORRESPONDENT    TERMS.  481 

The  trauailer  poore,  when  shippe  doth  suffer  wracke, 
Who  hopes  to  swimme  vnto  the  wished  lande, 
Dothe  venture  life,  with  fardle  on  his  backe, 
That  if  he  scape,  the  same  in  steede  maye  stande. 
Thus,  hope  of  life,  and  loue  vnto  his  goods, 
Houldes  vp  his  chinne,  with  burthen  in  the  floods." 

In  the  Winter's  Tale,  the  word  "  fardel "  occurs  several 
times ;  we  will,  however,  take  a  familiar  quotation  from  Hamlet 
(act  iii.  sc.  I,  1.  76,  vol.  viii.  p.  80),— 

"  Who  would  fardels  bear, 
To  grunt  and  sweat  under  a  weary  life, 
But  that  the  dread  of  something  after  death, 
The  undiscover'd  country  from  whose  bourn 
No  traveller  returns,  puzzles  the  will, 
And  makes  us  rather  bear  those  ills  we  have 
Than  fly  to  others  that  we  know  not  of  ? " 

The  Bandogs,  which  Sir  Thomas  More  and  Spenser  de- 
scribe, appear  to  have  been  different  from  those  of  Sambucus 
and  Whitney,  or,  rather,  they  were  employed  for  a  different 
purpose.  "We  must,"  writes  the  worthy  Chancellor  (p.  586), 
"  haue  bande  dogges  to  dryue  them  (the  swine)  out  of  the  corne 
with  byting,  and  leade  them  out  by  the  ears  ; "  and  Spenser,  in 
Virgil's  Gnat  (1.  539),  speaks  of— 

"  greedie  Scilla,  under  whom  there  lay 
Manie  great  bandogs,  which  her  gird  about." 

These  dogs  were  mastiffs,  and  their  banning  was  barking  or 
braying  ;  but  the  dogs  entitled  bandogs  in  Whitney,  though 
also  mastiffs,  were  fastened  by  a  band  to  a  small  cart,  and 
trained  to  draw  it.  A  large  species  of  dog  may  be  seen  at  this 
day  in  the  towns  of  Belgium  performing  the  very  same  service 
to  which  their  ancestors  had  been  accustomed  above  three 
centuries  ago.  Sambucus  heads  his  description  of  the  bandog's 

3  Q 


482 


MISCELLANEO  US 


[CHAP.  VII. 


strength  and  labours  with  the  sentence, — "  The  dog  complains 
that  he  is  greatly  wronged." 

Canis  queritur  nimium  nocere. 


Sambuciis,  1584. 

NON  ego  fur  aces  nee  apros  inferior  6?  vrjos, 

Applaudit  nee  hero  blandula  cauda  dolo  : 
Sub  iugafed  mitt  or  validus,  traho  &  effeda  collo, 

Quae<b  leuant  alias  viribus  <vfque  premor. 
Per  vicos  duftum  me  alij  latratibus  urgent, 

Miratur  cafus  liber  a  turbo,  meos, 
Qudmfueram  charus  dominae,Jiparuulus  effem, 

Non  menfa,  letto  nee  caruijje  welim. 
Sic  multis  vires,  &  opes  nocuere  fuperba: : 

Contentum  modieo  &  profuit  ejjeftatu. 

Seated  near  the  toiling  mastiff  is  a  lady  with  two  or  three  pet 
curs,  and  the  large  dog  complains, — 

"  Were  I  a  little  whelp,  to  my  lady  how  dear  I  should  be  ; 
Of  board  and  of  bed  I  never  the  want  should  see."  * 


*  Were  it  only  for  the  elegance  and  neat  turn  of  the  lines,  we  insert  an  epigram  on 
a  dog,  by  Joachim  du  Bellay,  given  in  his  Latin  Poems,  printed  at  Paris  in  1569, — 

"  Latratu  fures  excepi ; — mutus  amantes  ; 
Sic  placui  domino,  sic  placui  dominse." 

i.e.  "  With  barking  the  thieves  I  awaited,— in  silence  the  lovers  ; 

So  pleased  I  the  master,— so  pleased  I  the  mistress." 


CHAP.  VII.]  CORRESPONDENT    TERMS.  483 

Whitney,  using  the  woodcut  which  adorns  the  editions  of 
Sambucus  both  in  1564  and  1599,  prefixes  a  loftier  motto 
(p.  140), — Feriunt  summos  fulmina  monies, —  "Thunderbolts 
strike  highest  mountains  ;"  and  thus  expatiates  he,— 

"  'T^HE  bandogge,  fitte  to  matche  the  bull,  or  beare, 
**•    With  burthens  greate,  is  loden  euery  daye  : 
Or  drawes  the  carte,  and  forc'd  the  yoke  to  weare  : 
Where  littell  dogges  doe  passe  their  time  in  playe  : 
And  ofte,  are  bould  to  barke,  and  eeke  to  bite, 
When  as  before,  they  trembled  at  his  sighte. 

Yet,  when  in  bondes  they  see  his  thrauled  state, 
Eache  bragginge  curre,  beginnes  to  square,  and  brail : 
The  freer  sorte,  doe  wonder  at  his  fate, 
And  thinke  them  beste,  that  are  of  stature  small : 
For  they  male  sleepe  vppon  their  mistris  bedde, 
And  on  their  lappes,  with  daynties  still  bee  fedde. 

The  loftie  pine,  with  axe  is  ouerthrowne, 
And  is  prepared,  to  serue  the  shipmans  turne  : 
When  bushes  stande,  till  stormes  bee  ouerblowne, 
And  lightninges  flashe,  the  mountaine  toppes  doth  burne. 
All  which  doe  shewe  that  pompe,  and  worldlie  power, 
Makes  monarches,  markes  :  when  varrijnge  fate  doth  lower." 

The  mastiff  is  almost  the  only  dog  to  which  Shakespeare 
assigns  any  epithet  of  praise.  In  Henry  V.  (act  iii.  sc.  7,  1.  130, 
vol.  iv.  p.  552),  one  of  the  French  lords,  Rambures,  acknowleges 
"  that  island  of  England  breeds  very  valiant  creatures ;  their 
mastiffs  are  of  unmatchable  courage."  It  is  the  same  quality  in 
Achilles  and  Ajax  on  which  Ulysses  and  Nestor  count  when 
"the  old  man  eloquent,"  in  Troilus  and  Cressida  (act  i.  sc.  3, 
1.  391,  vol.  vi.  p.  155),  says  of  the  two  warriors, — 

"  Two  curs  shall  tame  each  other  :  pride  alone 
Must  tarre  *  the  mastiffs  on,  as  'twere  their  bone." 

*  "Tarre,"  i.e.  provoke  or  urge;  see  Johnson  and  Steevens'  Shakspcare,  vol.  ix. 
p.  48,  note. 


484 


MISCELLANEOUS 


[CHAP.  VII. 


It  is,  however,  only  in  a  passing  allusion  that  Shakespeare 
introduces  any  mention  of  the  bandog.  He  is  describing  the 
night  "  when  Troy  was  set  on  fire  "  (2  Henry  VL,  act  i.  sc.  4, 
1.  1 6,  vol.  v.  p.  129),  and  thus  speaks  of  it, — 

"  The  time  when  scritch-owls  cry,  and  ban-dogs  howl, 
When  spirits  walk,  and  ghosts  break  up  their  graves." 

We  are  all  familiar  with  the  expression  "  motley's  the  only 
wear,"  and  probably  we  are  disposed  simply  to  refer  it  to  the 
way  in  which  that  important  personage  was  arrayed  who 
exercised  his  fun  and  nonsense  and  shrewd  wit  in  the  courts  of 
the  kings  and  in  the  mansions  of  the  nobles  of  the  middle  ages. 
The  pictorial  type  exists  in  the  Emblems  both  of  Sambucus  and 
of  his  copyist  Whitney  (p.  81),  by  whom  the  sage  advice  is 
imparted, — "  Give  trifles  in  charge  to  fools." 

Fatuis  hula  commitito. 


Whitney,  1586. 

"  HPHE  little  childe,  is  pleas'de  with  cockhorse  gaie, 
-*-     Althoughe  he  aske  a  courser  of  the  beste  : 
The  ideot  likes,  with  babies  for  to  plaie, 
And  is  disgrac'de,  when  he  is  brauelie  dreste  : 
A  motley  coate,  a  cockescombe,  or  a  bell, 
Hee  better  likes,  then  lewelles  that  excell. 


CHAP.  VII.]  CORRESPONDENT    TERMS.  485 

So  fondelinges  vaine,  that  doe  for  honor  sue, 
And  seeke  for  roomes,  that  worthie  men  deserue  : 
The  prudent  Prince,  dothe  giue  hem  ofte  their  due, 
Whiche  is  faire  wordes,  that  right  their  humors  serue  : 
For  infantes  hande,  the  rasor  is  vnfitte, 
And  fooles  vnmeete,  in  wisedomes  seate  to  sitte." 

The  word  "  motley "  is  often  made  use  of  in  Shakespeare's 
plays.  Jaques,  in  As  You  Like  It  (act  ii.  sc.  7,  lines  12  and  42, 
vol.  ii.  pp.  405,  406),  describes  the  "motley  fool"  "in  a  motley 

coat,"— 

"  I  met  a  fool  i'  the  forest, 
A  motley  fool ;  a  miserable  world  ! 
As  I  do  live  by  food,  I  met  a  fool ; 
Who  laid  him  down  and  bask'd  him  in  the  sun, 
And  rail'd  on  Lady  Fortune  in  good  terms, 
In  good  set  terms,  and  yet  a  motley  fool. 

O  that  I  were  a  fool ! 
I  am  ambitious  for  a  motley  coat." 

The  Prologue  to  Henry  VIII.  (1.  15)  alludes  to  the  dress  of 
the  buffoons  that  were  often  introduced  into  the  plays  of  the 
time, — 

"  a  fellow 
In  a  long  motley  coat,  guarded  with  yellow." 

The  fool  in  King  Lear  (act  i.  sc.  4,  1.  93,  vol.  viii.  p.  280) 
seems  to  have  been  dressed  according  to  Whitney's  pattern,  for, 
on  giving  his  cap  to  Kent,  he  says,— 

"  Sirrah,  you  were  best  take  my  coxcomb. 

Kent.  Why,  fool  ? 

Fool.  Why,  for  taking  one's  part  that's  out  of  favour  :  nay,  an  thou  canst 
not  smile  as  the  wind  sits,  thou'lt  catch  cold  shortly  :  there,  take  my  cox- 
comb :  why,  this  fellow  hath  banished  two  on's  daughters,  and  done  the 
third  a  blessing  against  his  will ;  if  thou  follow  him,  thou  must  needs  wear 
my  coxcomb." 


486  MISCELLANEOUS  [CHAP.  VII. 

Drant's  translations*  from  Horace,  published  in  1567,  convey 
to  us  a  pretty  accurate  idea  of  the  fool's  attire, — 

"  Well  geue  him  cloth  and  let  the  fool 
Goe  like  a  cockescome  still." 

Perchance  we  know  the  lines  in  the  "  FAERIE  QUEENE  "  (vi. 
c.  7,  49,  1.  6),- 

"  And  other  whiles  with  bitter  mockes  and  mowes 
He  would  him  scorne,  that  to  his  gentle  mynd 
Was  much  more  grievous  then  the  others  bio  we  s  : 
Words  sharpely  wound,  but  greatest  griefe  of  scorning  growes." 

But  probably  we  are  not  prepared  to  trace  some  of  the  ex- 
pressions in  these  lines  to  an  Emblem-book  origin.  The  graphic 
"mockes  and  mowes,"  indeed,  no  Latin  nor  French  can  express; 
but  our  old  friend  Paradin,  in  the  "DEVISES  HEROIQVES" 
(leaf  174),  names  an  occasion  on  which  very  amusing  "  mockes 
and  mowes "  were  exhibited  ;  it  was,  moreover,  an  example 
that,— 

"  Things  badly  obtained  are  badly  scattered"  As  he  narrates  the  tale, — 
"  One  day  it  happened  that  a  huge  ape,  nourished  in  the  house  of  a  miser 
who  found  pleasure  only  in  his  crowns,  after  seeing  through  a  hole  his 
master  playing  with  his  crowns  upon  a  table,  obtained  means  of  entering 
within  by  an  open  window,  while  the  miser  was  at  dinner.  The  ape  took  a 
stool,  as  his  master  did,  but  soon  began  to  throw  the  silver  out  of  the 
window  into  the  street.  How  much  the  passers  by  kept  laughing  and  the 
miser  was  vexed,  I  shall  not  attempt  to  say.  I  will  not  mock  him  among 
his  neighbours  who  were  picking  up  his  bright  crowns  either  for  a  nestegg, 
or  for  a  son  or  a  brother, — for  a  gamester,  a  driveller  or  a  drunkard, — for  I 
cannot  but  remember  that  fine  and  true  saying  which  affirms,  '  Things  badly 
gained  are  badly  scattered?  " 

This  tale,  derived  by  Paradin  from  Gabriel  Symeoni's 
Imprese  Heroiche  et  Morali,  is  assumed  by  Whitney  as  the 
groundwork  of  his  very  lively  narrative  (p.  169),  Against 
Userers,  of  which  we  venture  to  give  the  whole. 

*  See  "Horace  his  Arte  of  Poetrie,  pistles,  and  satyres,  englished  "  by  Thomas 
Drant,  4to,  1567. 


CHAP.  VII.]  CORRESPONDENT    TERMS. 

Male  parta  male  dilabuntur. 
In  fceneratores. 


487 


Whitney,  1586. 

A  N  vserer,  whose  Idol  was  his  goulde, 
•**•  Within  his  house,  a  peeuishe  ape  retained  : 
A  seruaunt  fitte,  for  suche  a  miser  oulde, 
Of  whome  both  mockes,  and  apishe  mowes,  he  gain'd. 
Thus,  euerie  daie  he  made  his  master  sporte, 
And  to  his  clogge,  was  chained  in  the  courte. 

At  lengthe  it  hap'd  ?  while  greedie  graundsir  din'de  ? 

The  ape  got  loose,  and  founde  a  windowe  ope  : 

Where  in  he  leap'de,  and  all  about  did  finde, 

The  GOD,  wherein  the  Miser  put  his  hope? 
Which  soone  he  broch'd,  and  forthe  with  speede  did  flinge, 
And  did  delighte  on  stones  to  heare  it  ringe  ? 

The  sighte,  righte  well  the  passers  by  did  please, 

Who  did  reioyce  to  finde  these  goulden  crommes  : 

That  all  their  life,  their  pouertie  did  ease. 

Of  goodes  ill  got,  loe  heere  the  fruicte  that  commes. 
Looke  herevppon,  you  that  haue  MIDAS  minte, 
And  bee  posseste  with  hartes  as  harde  as  flinte. 

Shut  windowes  close,  leste  apes  doe  enter  in, 

And  doe  disperse  your  goulde,  you  doe  adore. 

But  woulde  you  learne  to  keepe,  that  you  do  winne  ? 

Then  get  it  well,  and  hourde  it  not  in  store. 

If  not  :  no  boultes,  nor  brasen  barres  will  serue, 

For  GOD  will  waste  your  stocke,  and  make  you  sterue." 


488  MISCELLANEOUS  [CHAP  VII. 

Poor  Caliban,  in  the  Tempest  (act  ii.  sc.  2,  1.  7,  vol.  i.  p.  36), 
complains  of  Prospero's  spirits  that, — 

"  For  every  trifle  are  they  set  upon  me  ; 
Sometimes  like  apes,  that  mow  and  chatter  at  me, 
And  after  bite  me." 

And  Helena,  to  her  rival  Hermia  (Midsummer  Night's 
Dream,  act  iii.  sc.  2,  1.  237,  vol.  ii.  p.  240),  urges  a  very  similar 

charge, — 

"  Ay,  do,  persever,  counterfeit  sad  looks, 
Make  mouths  upon  me  when  I  turn  my  back  ; 
Wink  each  at  other  ;  hold  the  sweet  jest  up." 

There  is  not,  indeed,  any  imitation  of  the  jocose  tale  about 
the  ape  *  and  the  miser's  gold,  and  it  is  simply  in  "  the  mockes 
and  apishe  mowes  "  that  any  similarity  exists.  These,  however, 
enter  into  the  dialogue  between  Imogen  and  lachimo  (Cymbeline, 
act  i.  sc.  6,  1.  30,  vol.  ix.  p.  184)  ;  she  bids  him  welcome,  and  he 

replies, — 

"  lack.  Thanks,  fairest  lady. 

What,  are  men  mad  ?  Hath  nature  given  them  eyes 
To  see  this  vaulted  arch  and  the  rich  crop 
Of  sea  and  land,  which  can  distinguish  'twixt 
The  fiery  orbs  above  and  the  twinn'd  stones 
Upon  the  number'd  beach,  and  can  we  not 
Partition  make  with  spectacles  so  precious 
'Twixt  fair  and  foul  ? 

Imo.  What  makes  your  admiration  ? 

lack.  It  cannot  be  i'  the  eye  ;  for  apes  and  monkeys, 
'Twixt  two  such  shes,  would  chatter  this  way  and 
Contemn  with  mows  the  other." 

There  is  a  fine  thought  in  Furmer's  Use  and  Abuse  of  Wealth, 
first  published  in  Latin  in  1575,  and  afterwards,  in  1585,  trans- 
lated into  Dutch  by  Coornhert ;  it  is  respecting  the  distribution 
of  poverty  and  riches  by  the  Supreme  wisdom.  The  subject  (at 

*  The  character,  however,  of  the  animal  is  named  in  Midsummer  Night's  Dream 
(act  ii.  sc.  i,  1.  181),  where  Titania  may  look — 

"  On  meddling  monkey,  or  on  busy  ape." 


I  III, 
PAVPERTAS     IMMERITA, 

Dominus  paupercm  facit  &:  ditat, 
i.  Regum  z>  7. 


Vt  THUS  atttferopumquM'olim  lobu*  habcbaty 
S/c  pauptrtatts  turn  Dem  auffer  eraf. 

fi*mvtrnm±fvt*ti  Dominusquitdontt  vtrumquc, 
In  tnimo  font  femper  <vtrnmf[tit  ferct. 


ia 


CHAP.  VII.]  CORRESPONDENT    TERMS.  489 

p.  6)  is  Undeserved  Poverty, — •"  The  Lord  maketh  poor,  and 
enriches."  (See  Plate  XVI.) 

"  The  riches  which  Job  had  as  God  bestows, 

So  giver  of  poverty  doth  God  appear. 
Who  thinks  each  good  because  from  God  each  flows, 
Shall  always  each  with  bravest  spirit  bear." 

In  the  device,  the  clouds  are  opened  to  bestow  fulness  upon 
the  poor  man,  and  emptiness  upon  the  rich.  By  brief  allusion 
chiefly  does  Shakespeare  express  either  of  these  acts ;  but  in  the 
Tempest  (act  iii.  sc.  2, 1.  135,  vol.  i.  p.  48),  Caliban,  after  informing 
Stephano  that  "  the  isle  is  full  of  noises,"  and  that  "  sometimes 
a  thousand  twangling  instruments  will  hum  about  mine  ears," 

adds, — 

And  then,  in  dreaming, 

The  clouds  methought  would  open,  and  show  riches 
Ready  to  drop  upon  me  ;  that  when  I  waked, 
I  cried  to  dream  again." 

A  very  similar  picture  and  sentiment  to  those  in  Coornhert 
are  presented  by  Gloucester's  words  in  King  Lear  (act  iv.  sc.  i, 
1.  64,  vol.  viii.  p.  366), — 

"  Here,  take  this  purse,  thou  whom  the  heavens'  plagues 
Have  humbled  to  all  strokes  :  that  I  am  wretched 
Makes  thee  the  happier.     Heavens,  deal  so  still ! 
Let  the  superfluous  and  lust-dieted  man, 
That  slaves  your  ordinance,  that  will  not  see 
Because  he  doth  not  feel,  feel  your  power  quickly  ; 
So  distribution  should  undo  excess, 
And  each  man  have  enough." 

Coornhert's  title,  "  3&ecf)t  (^fjefctugcfc  ttifoe  J&tsfctugcfc  ban- 

tgtlljJCfce  fjabe," — The  right  use  and  misttse  of  worldly  wealth, — 
and,  indeed,  his  work,  have  their  purport  well  carried  out  by  the 
king  in  2  Henry  IV.  (act  iv.  sc.  4,  1.  103,  vol  iv.  p.  450),— 

"  Will  Fortune  never  come  with  both  hands  full, 
But  write  her  fair  words  still  in  foulest  letters  ? 
She  either  gives  a  stomach  and  no  food  ; 
Such  are  the  poor,  in  health  ;  or  else  a  feast 
And  takes  away  the  stomach  ;  such  are  the  rich, 
That  have  abundance  and  enjoy  it  not." 

3  R 


490  MISCELLANEOUS  [CHAP.  VII. 

The  fine  thoughts  of  Ulysses,  too,  in  Troilus  and  Cressida 
(act  iii.  sc.  3,  1.  196,  vol.  vi.  p.  201),  have  right  and  propriety 
here  to  be  quoted,— 

"  The  providence  that's  in  a  watchful  state 
Knows  almost  every  grain  of  Plutus'  gold, 
Finds  bottom  in  the  uncomprehensive  deeps, 
Keeps  place  with  thought  and  almost  like  the  gods 
Does  thoughts  unveil  in  their  dumb  cradles. 
There  is  a  mystery,  with  whom  relation 
Durst  never  meddle,  in  the  soul  of  state  ; 
Which  hath  an  operation  more  divine 
Than  breath  or  pen  can  give  expressure  to." 

Petruchio's  thought,  perchance,  may  be  mentioned  in  this 
connection  (Taming  of  the  Shrew,  act  iv.  sc.  3,  1.  165,  vol.  iii. 
p.  78),  when  he  declares  his  will  to  go  to  Kate's  father,— 

"  Even  in  these  honest  mean  habiliments  : 
Our  purses  shall  be  proud,  our  garments  poor  ; 
For  'tis  the  mind  that  makes  the  body  rich  : 
And  as  the  sun  breaks  through  the  darkest  clouds, 
So  honour  peereth  in  the  meanest  habit." 

The  Horatian  thought,  "  Time  flies  irrevocable,"  so  well  de- 
picted by  Otho  Vaenius  in  his  Emblemata  (edition  1612,  p.  206), 
has  only  general  parallels  in  Shakespeare  ;  and  yet  it  is  a  thought 
with  which  our  various  dissertations  on  Shakespeare  and  the 
Emblematists  may  find  no  unfitting  end.  The  Christian  artist  far 
excels  the  Heathen  poet.  Horace,  in  his  Odes  (bk.  iv.  carmen  7), 
declares, — 

"  Immortalia  ne  speres,  monet  annus  &*  almum 

QIHZ  rapit  hora  diem : 
Frigora  mitescunt  Zephyris  :   Ver  protcrit  sEstas 

Interitura,  simul 

Pomifer  Autumnus  fruges  effuderit :  &*  mox 
Bruma  recurrit  iners" 

i.e.  "  Not  to  hope  immortal  things,  the  year  admonishes,  and  the  hour 
which  steals  the  genial  day.  By  western  winds  the  frosts  grow  mild  ;  the 
summer  soon  to  perish  supplants  the  spring,  then  fruitful  autumn  pours  forth 
his  stores,  and  soon  sluggish  winter  comes  again." 


tf 


CHAP  VII.]  CORRESPONDENT    TERMS.  491 

These,   however,   the  artist  makes  (Henry  V.,  act  iv.  sc.  I,  1.  9, 
vol.  v.  p.  555)- 

"  Preachers  to  us  all,  admonishing 
That  we  should  dress  us  fairly  for  our  end." 

Youthful  Time  (see  Plate  XVII.)  is  leading  on  the  seasons,— 
a  childlike  spring,  a  matured  summer  wreathed  with  corn,  an 
autumn  crowned  with  vines,  and  a  decrepid  winter, — and  yet  the 
emblem  of  immortality  lies  at  their  feet  ;  and  the  lesson  is 
taught,  as  our  Dramatist  expresses  it  (Hamlet,  act  i.  sc.  2,  1.  71, 

vol.  viii.  p.  14), — 

'•  All  that  lives  must  die 
Passing  through  nature  to  eternity." 

The  irrevocable  time  flies  on,  and  surely  it  has  its  comment  in 
MacbctJi  (act  v.  sc.  5,  1.  19,  vol.  vii.  p.  512),— 

"  To-morrow,  and  to-morrow,  and  to-morrow, 
Creeps  in  this  petty  pace  from  day  to  day 
To  the  last  syllable  of  recorded  time  ; 
And  all  our  yesterdays  have  lighted  fools 
The  way  to  dusty  death." 

Or,  in  Hotspur's  words  (i  Henry  IV.,  act  v.  sc.  2,  1.  82,  vol.  iv. 

P-  337),- 

"  O  gentlemen,  the  time  of  life  is  short ! 

To  spend  that  shortness  basely  were  too  long, 
If  life  did  ride  upon  a  dial's  point, 
Still  ending  at  the  arrival  of  an  hour." 

And  for  eternity's  Emblem,*  the  Egyptians,  we  are  told 
(Horapollo,  i.  i),  made  golden  figures  of  the  Basilisk,  with  its 
tail  covered  by  the  rest  of  its  body  ;  so  Otho  Vsenius  presents 
the  device  to  us.  But  Shakespeare,  without  symbol,  names  the 
desire,  the  feeling,  the  fact  itself;  he  makes  Cleopatra  exclaim 
(Antony  and  Cleopatra,  act  v.  sc.  2,  1.  277,  vol.  ix.  p.  150),  "I 
have  immortal  longings  in  me,"  "  I  am  fire  and  air ;  my  other 
elements  I  give  to  baser  life." 

When  Romeo  asks  (Romeo  and  Juliet,  act  v.  sc.  i,  1.  15, 
vol.  vii.  p.  1 17), — 


See  woodcut  in  this  volume,  p.  37. 


492  RECAPITULATION.  [CHAP.  VII. 

"How  fares  my  Juliet  ?  that  I  ask  again  ; 
For  nothing  can  be  ill,  if  she  be  well  ; " 

with  the  force  of  entire  faith  the   answer  is  conceived  which 
Balthasar  returns, — 

"  Then  she  is  well,  and  nothing  can  be  ill : 
Her  body  sleeps  in  Capel's  monument, 
And  her  immortal  part  with  angels  lives." 

We  thus  know  in  what  sense   to    understand  the  words  from 
Macbeth  (act  iii.  sc.  2,  1.  22,  vol.  vii.  p.  467), — 

"  Duncan  is  in  his  grave  ; 
After  life's  fitful  fever  he  sleeps  well ; 
Treason  has  done  his  worst :  nor  steel;  nor  poison, 
Malice  domestic,  foreign  levy,  nothing, 
Can  touch  him  further." 

Therefore,  in  spite  of  quickly  fading  years,  in  spite  of  age 
irrevocable,  and  (Loves  Labour's  Lost,  act  i.  sc.  I,  1.  4,  vol.  ii. 

P-  97) — 

"  In  spite  of  cormorant  devouring  Time, 

The  endeavour  of  this  present  breath  may  buy 
That  honour  which  shall  bate  his  scythe's  keen  edge, 
And  make  us  heirs  of  all  eternity." 

A  brief  resume,  or  recapitulation,  will  now  place  the  nature  of 
our  argument  more  clearly  in  review. 

When  writing  and  its  kindred  arts  of  designing  and  colouring 
were  the  only  means  in  use  for  the  making  and  illustrating  of 
books,  drawings  of  an  emblematical  character  were  frequently 
executed  both  for  the  ornamenting  and  for  the  fuller  explanation 
of  various  works. 

From  the  origin  of  printing,  books  of  an  emblematical 
character,  as  the  Bibles  of  the  Poor  and  other  block-books,  were 
generally  known  in  the  civilised  portions  of  Europe  ;  they  con- 
stituted, to  a  considerable  degree,  the  illustrated  literature  of 
their  age,  and  enjoyed  wide  fame  and  popularity. 

Not  many  years  after  printing  with  moveable  types  had  been 
invented,  Emblem  works  as  a  distinct  species  of  literature 


CHAP.  VII.]  RECAPITULATION. 


493 


appeared  ;  and  of  these  some  of  the  earliest  were  soon  translated 
into  English. 

It  is  on  undoubted  record  that  the  use  of  Emblems,  derived 
from  German,  Latin,  French,  and  Italian  sources,  prevailed  in 
England  for  purposes  of  ornamentation  of  various  kinds ;  that 
the  works  of  Brandt,  Giovio,  Symeoni,  and  Paradin  were  trans- 
lated into  English  ;  and  that  there  were  several  English  writers 
or  collectors  of  Emblems  within  Shakespeare's  lifetime, — as 
Daniell,  Whitney,  Willet,  Combe,  and  Peacham. 

Shakespeare  possessed  great  artistic  powers,  so  as  to  appre- 
ciate and  graphically  describe  the  beauties  and  qualities  of 
excellence  in  painting,  sculpture,  and  music.  His  attainments, 
too,  in  the  languages  enabled  him  to  make  use  of  the  Emblem- 
books  that  had  been  published  in  Latin,  Italian,  and  French,  and 
possibly  in  Spanish. 

In  everything,  except  in  the  actual  pictorial  device,  Shake- 
speare exhibited  himself  as  a  skilled  designer, — indeed,  a  writer 
of  Emblems  ;  he  followed  the  very  methods  on  which  this 
species  of  literary  composition  was  conducted,  and  needed  only 
the  engraver's  aid  to  make  perfect  designs. 

Freest  among  mortals  were  the  Emblem  writers  in  borrow- 
ing one  from  the  other,  and  from  any  source  which  might  serve 
the  construction  of  their  ingenious  devices  ;  and  they  generally 
did  this  without  acknowledgment.  An  Emblem  once  launched 
into  the  world  of  letters  was  treated  as  a  fable  or  a  proverb, — it 
became  for  the  time  and  the  occasion  the  property  of  whoever 
chose  to  take  it.  In  using  Emblems,  therefore,  Shakespeare  is 
no  more  to  be  regarded  as  a  copyist  than  his  contemporaries  are, 
but  simply  as  one  who  exercised  a  recognised  right  to  appro- 
priate what  he  needed  of  the  general  stock  of  Emblem  notions. 

There  are  several  direct  References  in  Shakespeare,  at 
least  six,  in  which,  by  the  closest  description  and  by  express 
quotation,  he  identifies  himself  with  the  Emblem  writers  who 
preceded  him. 


494  CONCLUSION.  [CHAP.  VII. 

But  besides  these  direct  References,  there  are  several  colla- 
teral ones,  in  which  ideas  and  expressions  are  employed  similar 
to  those  of  Emblematists,  and  which  indicate  a  knowledge  of 
Emblem  art. 

And,  finally,  the  parallelisms  and  correspondencies  are  very 
numerous  between  devices  and  turns  of  thought,  and  even  be- 
tween the  words  of  the  Emblem  writers  and  passages  in  Shake- 
speare's Sonnets  and  Dramas  ;  and  these  receive  their  most 
appropriate  rationale  on  the  supposition  that  they  were  sug- 
gested to  his  mind  through  reading  the  Emblem-books,  or 
through  familiarity  with  the  Emblem  literature. 

Now,  such  References  and  Coincidences  are  not  to  be  re- 
garded as  purely  accidental,  neither  can  all  of  them  be  urged 
with  entire  confidence.  Some  persons  even  may  be  disposed  to 
class  them  among  the  similarities  which  of  necessity  arise  when 
writers  of  genius  and  learning  take  up  the  same  themes,  and 
call  to  their  aid  all  the  resources  of  their  memory  and  research. 

I  presume  not,  however,  to  say  that  my  arguments  and 
statements  are  absolute  proofs,  except  in  a  few  instances.  What 
I  maintain  is  this  :  that  the  Emblem  writers,  and  our  own  Whit- 
ney especially,  do  supply  many  curious  and  highly  interesting 
illustrations  of  the  Shakespearean  dramas,  and  that  several  of 
them,  probably,  were  in  the  mind  of  the  Dramatist  as  he  wrote. 

To  show  that  the  theory  carried  out  in  these  pages  is  neither 
singular  nor  unsupported  by  high  authorities,  it  should  not  be 
forgotten  that  the  very  celebrated  critic,  Francis  Douce,  in  his 
Illustrations  of  Shakespeare  (pp.  302,  392),  maintains  that  Paradin 
was  the  source  of  the  torch-emblem  in  the  Pericles  (act  ii.  sc.  2, 
1.  32)  :  the  "wreath  of  victory,"  and  "gold  on  the  touchstone," 
have  also  the  same  source.  To  Holbein's  Simulachres  Noel 
Humphreys  assigns  the  origin  of  the  expression  in  Othello,  "  Put 
out  the  light — and  then,  put  out  the  light;"  and  in  the  same 
work,  Dr.  Alfred  Woltmann,  in  Holbein  and  his  Times  (vol.  ii. 


CHAP.  VII.]  CONCLUSION.  495 

p.  121),  finds  the  origin  of  Death's  fool  in  Measure  for  Measure : 
and  Shakespeare's  comparisons  of  "  Death  and  Sleep "  may  be 
traced  to  Jean  de  Vauzelle,  who  wrote  the  Dissertations  for  Les 
Simulachres.  Charles  Knight,  also,  in  his  Pictorial  Shakspere 
(vol.  i.  p.  154),  to  illustrate  the  lines  in  Hamlet  (act  iv.  sc.  5, 1.  142) 
respecting  "the  kind  life-rendering  pelican,"  quotes  Whitney's 
stanza,  and  copies  his  woodcut,  as  stated  ante,  p.  396,  note. 

Though  not  a  learned  man,  as  Erasmus  or  Beza  was,  Shake- 
speare, as  every  page  of  his  wonderful  writings  shows,  must  have 
been  a  reading  man,  and  well  acquainted  with  the  current 
literature  of  his  age  and  country.  Whitney's  Emblemes  were 
well  known  in  1612  to  the  author  of  "MINERVA  BRITANNA," 
and  boasted  of  in  1598  by  Thomas  Meres,  in  his  Wit's  Com- 
monwealth, as  fit  to  be  compared  with  any  of  the  most  eminent 
Latin  writers  of  Emblems,  and  dedicated  to  many  of  the  dis- 
tinguished men  of  Elizabeth's  reign  ;  and  they  could  scarcely 
have  been  unknown  to  Shakespeare  even  had  there  been  no 
similarities  of  thought  and  expression  established  between  the 
two  writers. 

Nor  after  the  testimonies  which  have  been  adduced,  and 
comparing  the  picture-emblems  submitted  for  consideration  with 
the  passages  from  Shakespeare  which  are  their  parallels,  as  far 
as  words  can  be  to  drawings,  are  we  required  to  treat  it  as 
nothing  but  a  conjecture  that  Shakespeare,  like  others  of  his 
countrymen,  possessed  at  least  a  general  acquaintance  with  the 
popular  Emblem-books  of  his  own  generation  and  of  that  which 
went  before. 

The  study  of  the  old  Emblem-books  certainly  possesses  little 
of  the  charm  which  the  unsurpassed,  natural  power  of  Shake- 
speare has  infused  into  his  dramas,  and  which  time  does  not 
diminish  ;  yet  that  study  is  no  barren  pursuit  for  such  as  will 
seek  for  "  virtue's  fair  form  and  graces  excellent,"  or  who  desire 
to  note  how  the  learning  of  the  age  disported  itself  at  its  hours 
of  recreation,  and  how,  with  few  exceptions,  it  held  firm  its 


496  CONCLUSION.  [CHAP.  VII. 

allegiance  to  purity  of  thought,  and  reverenced  the  spirit  of 
religion.  Should  there  be  any  whom  these  pages  incite  to  gain 
a  fuller  knowledge  of  the  Emblem  literature,  I  would  say  in  the 
words  of  Arthur  Bourchier,  Whitney's  steady  friend, — 

"  Goe  forivarde  then  in  happie  time,  and  thou  shall  surely  find e, 
With  coste,  and  labour  well  set  out,  a  banquet  for  thy  mindc, 
A  storehouse  for  thy  wise  conceiptes,  a  whetstone  for  thy  witte : 
Where,  eache  man  maye  with  daintie  choice  his  fancies  finely  fitte" 

So  much  for  the  early  cultivators  of  Emblematical  mottoes, 
devices,  and  poesies,  and  for  him  whom  Hugh  Holland,  and 
Ben  Jonson,  and  "  The  friendly  Admirer  of  his  Endowments," 
salute  as  "  The  Famous  Scenicke  Poet,"  "  The  Sweet  Swan  of 
Avon,"  "The  Starre  of  Poets,"— 

"  Soule  of  the  Age  } 

The  applause  !  delight !  the  wonder  of  our  stage  !  " 

"TO     THE      MEMORY     OF     MY     BELOVED,     THE      AUTHOR, 

jflflr,  SHtlitam  Shakespeare :  and  what  he  has  left  us ;  "- 

such  the  dedication  when  Jonson  declared, — 
"  Thou  art  a  Moniment  without  a  tombe. 

And  art  aliue  still,  while  thy  Booke  doth  Hue 
And  we  haue  wits  to  read,  and  praise  to  giue." 


Gimno,  ed.  1556. 


i. 


OINCIDENCES  BETWEEN  SHAKESPEARE  AND  WHIT- 
NEY IN  THE  USE  AND  APPLICATION  OF  WORDS 
NOW  OBSOLETE,  OR  OF  OLD  FORM. 


N.B.    After  the  words  the  References  are  to  the  pages  and  lines  of  Whitney's  Emblems  ;  in  the  Dramas 
to  the  act,  scene,  and  line,  according  to  the  Cambridge  Edition,  8vo,  in  9  vols.  1866. 


WORD. 


REFERENCE. 


Accidentes  .    p.  vi.  line  2 
p.  vii.  1.  21 


Tempest,  v.  I,  305  . 
I  Hen.  IV.  i.  2,  199. 
W.  Tale,  iv.  4,  527  . 


PASSAGE. 

yet  they  set  them  selues  a  worke  in  handlinge  suche 
accidentes,  as  haue  bin  done  in  times  paste. 

this  present  time  behouldeth  the  accidentes  of 
former  times. 

And  the  particular  accidents  gone  by. 
And  nothing  pleaseth  but  rare  accidents. 
As  the  unthought-on  accident  is  guilty. 


affectioned  .   p.  vi.  1.  5 


aie,  or  aye 


.     .     .  one   too  much   affectioned,   can  scarce  finde  an 
ende  of  the  praises  of  Hector. 

T^velfth  N.  ii.  3,  139  An  affectioned  ass. 

L.  L.  Lost,  i.  2,  158.  I  do  affect  the  very  ground. 

p.  21,  1.  7  .     .     .     .  With  theise  hee  Hues,  and  doth  reioice  for  aie. 

p.  in,  1.  12    .      .     .  Thy  fame  doth  Hue,  and  eeke,  for  aye  shall  laste. 

M.  N.  Dr.  i.  i,  71   .  For  aye  to  be  in  shady  cloister  mew'd. 

Pericles,  v.  3,  95  .     .  The  worth  that  learned  charity  aye  wears. 

Tr.  and  Cr.  iii.  2,  152  To  feed  for  aye  her  lamp  and  flames  of  love. 


alder,  or  elder   p.  120,  1.  5      .     .     . 

2  Hen.  VI.  i.  i,  28  . 
Tr.  and  Cr.  ii.  2,  104 
Rich.  IL  ii.  3,  43  . 


And  why  ?  theise  two  did  alder  time  decree. 

With  you  my  alder,  liefest  sovereign. 
Virgins  and  boys,  mid-age  and  wrinkled  eld. 
—  which  elder  days  shall  ripen. 

3  s 


498 


COINCIDENCES. 


[APPENDIX  I. 


WORD.  REFERENCE.  PASSAGE. 

amisse      .     .    p.  211,  1.  16    .     .     .  That  all  too  late  shee  mourn'cl,  for  her  amisse. 

Hamlet,  iv.  5,  18  .     .  Each  toy  seems  prologue  to  some  great  amiss. 

Sonnet  cli.  3     ...  Then  gentle  cheater  urge  not  my  amiss. 

Sonnet  xxxv.  7      .      .  Myself  corrupting,  salving  thy  amiss. 

annoyes  .     .    p.  219,  1.  9      .     .     .  His  pleasures  shalbee  mated  with  annoyes. 

Rich.  III.  v.  3,  156  .  Guard  thee  from  the  boar's  annoy  ! 

Tit.  An.  iv.  i,  50     .  —  root  of  thine  annoy. 

3  Hen.   VI.  v.  7,  45  .  —  farewell,  sour  annoy  ! 

assaie  ...    p.  34,  1.  13       ...  But  when  the  froste,  and  coulcle,  shall  thee  assaie. 

p.  40,  1.  3 With  reasons  firste,  did  vertue  him  assaie. 

1  Hen.  IV.  v.  4,  34  .  I  will  assay  thee ;  so  defend  thyself. 

Hamlet,  ii.  2,  71  .     .  Never  more  to  give  the  assay  of  arms  against 
your  majesty. 

a  worke   .     .    p.  vi.  1.  2    .     .     .     .  They  set  them  selues  a  worke  in  handlinge. 

2  Hen.  IV.  iv.  3,  108  for  that  sets  it  a-work. 

K.  Lear,  iii.  5,  6       .  set  a-work  by  a  reproveable  badness. 


Baie,  or  baye   p.  213,  1.  3      ... 
p.  191,  1.  4      ... 

Cymb.  v.  5,  222  .  . 
J.  Cczs.  iv.  3,  27  .  . 
T.  of  Shrew,  v.  2,  56 
2  Hen.  IV.  i.  3,  80  . 

bale     .     •'    •   p.  i  So,  1.  7      ... 

p.  219,  1.  16    .     .     . 

i  Hen.  VI.  v.  4,  122 
Coriol.  i.  4,  155  .  . 


Wherefore,  in  vaine  aloude  he  barkes  and  baies. 
And  curt eousspeeche,  dothekeepethemat  thebaye. 

—  set  the  dogs  o'  the  street  to  bay  me. 
I  had  rather  be  a  dog,  and  bay  the  moon. 
Your  deer  does  hold  you  at  a  bay. 

—  baying  him  at  the  heels. 

A  worde  once  spoke,  it  can  retourne  no  more, 
But  flies  awaie,  and  ofte  thy  bale  cloth  breede. 
Lo  this  their  bale,  which  was  her  blisse  you  heare. 

By  sight  of  these  our  baleful  enemies. 
Rome  and  her  rats  are  at  the  point  of  battle ; 
The  one  side  must  have  bale. 


baneorbayne  p.  141,  1.  7      ... 
p.  211,1.  14    .     .     . 

Tit.  An.  v.  3,  73.  . 
M.  for  M.  i.  2,  123  . 
Macbeth,  v.  3,  59 .  . 

banne      .     .   p.  189,  1.  10    .     .     . 

Hamlet,  iii.  2,  246     . 

1  Hen.   VI.  v.  4,  42  . 

2  Hen.  VI.  iii.  2,  319 


Euen  so  it  happes,  wee  ofte  our  bayne  doe  brue. 
Did  breede  her  bane,  who  mighte  haue  bath'de  in 
blisse. 

Lest  Rome  herself  be  bane  unto  herself. 
Like  rats  that  ravin  down  their  proper  bane. 
I  will  not  be  afraid  of  death  and  bane. 

And  in  a  rage,  the  brutishe  beaste  did  banne. 

With  Hecate's  ban  thrice  blasted. 

Fell,  banning  hag,  enchantress,  hold  thy  tongue  ! 

Every  joint  should  seem  to  curse  and  ban. 


APPENDIX!.]       SHAKESPEARE    AND     WHITNEY. 


499 


WORD. 

betide . 


REFERENCE, 
p.   9,  1.   2      .       . 


PASSAGE. 

Woulde  vnderstande  what  weather  shoulde  betide. 


3  Hen.  VI.  iv.  6,  88.      A  salve  for  any  sore  that  may  betide. 
T.  G.  Ver.  iv.  3,  40 .      Recking  as  little  what  betideth  me. 


betime     .     .    p.  50,  1.  i  . 


Betime   when   sleepe   is    sweete,    the   chattringe 
swallowe  cries. 


Hamlet,  iv.  5,  47  .     .      All  in  the  morning  betime. 
2  Hen.  VI.  iii.  3,  285     And  stop  the  rage  betime. 


bewraye  .     .    p.  v.  1.  30  . 
p.  124,  1.  5 


bewrayeth  it  selfe  as  the  smoke  bewrayeth  the 

fire. 
Theire  foxes  coate,  theire  fained  harte  bewraies. 


i  Hen.  VI.  iv.  I,  107  Bewray'd  the  faintness  of  my  master's  heart. 

K.  Lear,  ii.  i,  107    .  He  bewray  his  practice. 

3  Hen.   VI.  i.  I,  211.  Whose  looks  bewray  her  anger. 

bleared    .     .    p.  94,  1.  7  .     .     .     .  What  meanes  her  eies  ?    so  bleared,  sore,  and 

redd. 

T.  of  Shrew,  v.  I,  103  While  counterfeit  supposes  blear'd  thine  eyne. 

M.  Venice,  iii.  2,  58  .  Dardanian  wives  with  blear'd  visages. 


bloodes    .     .    p.  99,  1.  18 
Cymb.  i.  i,  i 


Can    not    be    free,    from    guilte    of    childrens 
bloodes. 

Our  bloods  no  more  obey  the  heavens  than  our 
courtiers. 


broache  .     .    P-  7»  !•  2 


And  bluddie  broiles,  at  home  are  set  a  broache. 


Rom.  and  J.  i.  i,  102     Who  set  this  ancient  quarrel  new  abroach? 
2  Hen.  IV.  iv.  2,  14.      Alack  what  mischiefs  might  he  set  a  broach. 


budgettes     .    p.  209,  1.  10    . 


IV.  Tale,  iv.  3,  18 


The  quicke  Phisition  did  commaunde  that  tables 

should  be  set 
About  the  misers  bed,  and   budgettes  forth  to 

bring. 

If  tinkers  may  have  leave  to  live, 
And  bear  the  sow-skin  budget. 


Carle  ...    p.  209,  1.  5 

Cymb.  v.  2,  4  . 


At    lengthe,    this    greedie    carle    the   Lythergie 
posseste. 

—  this  carl,  a  very  drudge  of  nature's. 
As  Like  it,  iii.  5,  106     And  he  hath  bought  the  cottage  and  the  bounds 
That  the  old  carlot  once  was  master  of. 


500 


COINCIDENCES. 


[APPENDIX  I. 


WORD.  REFERENCE.  PASSAGE. 

carpes      .     .    p.  5°>  1-  3  •     •     •     •     Which  carpes  the  pratinge  crewe,  who  like  of 

bablinge  beste. 

K.  Lear,  i.  4,  194     .        —  your  insolent   retinue   do   hourly   carp   and 

quarrel. 
i  Hen.  VI.  iv.  I,  90.      This  fellow  here,  with  envious  carping  tongue. 

catch'de  .     .    p.  77,  1.  6  .     .     .     .     Yet,  with  figge  leaues  at  lengthe  was  catch'de,  & 

made  the  fisshers  praie. 

Rom.  and  J.  iv.  5,  47     But  one  thing  to  rejoice  and  solace  in, 

And  cruel  death  hath  catch'd  it  from  my  sight ! 

cates   .     .     .    p.  18,  1.  9  .     .     .    -.      Whose  backe  is  fraighte  with  cates  and  daintie 

cheare. 

p.  202,  1.  12    .     .     .     And  for  to  Hue  with  CODRVS  cates  :  a  roote  and 
barly  bonne. 

T.  of  Shrew,  ii.  i,  187     My  super-dainty  Kate,  for  dainties  are  all  Kates. 
I  Hen.  VI.  ii.  3,  78 .     That  we  may  taste  of  your  wine,  and  see  what 

cates  you  have. 
C.  Errors,  iii.  I,  28  .      But  though  my  cates  be  mean,  take  them  in  good 

part. 


caytiffe    .     .    p.  95,  1.  19 


See  heare  how  vile,  theise  caytiffes  doe  appeare. 


Rom.  and  J.  v.  i,  52     Here  lives  a  caitiff  wretch. 

Rich.  II.  i.  2,  53  .     .      A  caitiff  recreant  to  my  cousin  Hereford. 


clogges    .     .    p.  82,  1.  9  .     .     . 

Macbeth,  iii.  6,  42 
Rich.  II.  i.  3,  200 


Then,   loue  the  onelie  crosse,   that  clogges  the 
woiide  with  care. 

You'll  rue  the  time  that  clogs  me  with  this  answer. 
Bear  not  along  the  clogging  burden  of  a  guilty  soul. 


cockescombe   p.  81,  1.  5  .     .     .  .  A  motley  coate,  a  cockescombe,  or  a  bell. 

M.  Wives,  v.  5,  133  .  Shall  I  have  a  coxcomb  of  frize? 

K.  Lear,  ii.  4,  119  .  She  knapped  'em  o'  the  coxcombs  with  a  stick. 

consumma-      p.  xi.  1.  23  .     .     .  .  wee  maie  behoulde  the  consummatio  of  happie 
tion.  ould  age. 

Cymb.  iv.  2,  281  .  .  Quiet  consummation  have. 

Hamlet,  iii.  I,  63.  .  'Tis  a  consummation  devoutly  to  be  wish'd. 


corrupte  .     .    p.  xiv.  1.  19     .     .     .     too  much   corrupte  with  curiousnes  and    new- 

fanglenes. 

I  Hen.  VI.  v.  4,  45  .      Corrupt  and  tainted  with  a  thousand  vices. 
Hen.  VIII.  i.  2,  116  the  mind  growing  once  corrupt, 

They  turn  to  vicious  forms. 


APPENDIX  I. ]       SHAKESPEARE    AND     WHITNEY. 


WORD. 

corse  .. 


REFERENCE. 

p.  109,  1.  30    .     .     . 
W.  Tale,  iv.  4,  130  . 


PASSAGE. 

But  fortie  fiue  before,  did  carue  his  corse. 


Like  a  bank,  for  love  to  lie  and  play  on  ;  not 

like  a  corse. 
Rom.  and  J.  v.  2,  30     Poor  living  corse,  clos'd  in  a  dead  man's  tomb. 


create .     .     .    p.  64,  1.  i  . 


Hen.  V.  ii.  2,  31  .     . 
K.  John,  iv.  I,  107  . 


Not  for  our  selues  alone  wee  are  create. 

With  hearts  create  of  duty  and  of  zeal. 
Being  create  for  comfort. 


Deceaste      .    P-  87,  1.  13      ... 
Cymb.  i.  I,  38      .     . 


Throughe  Aschalon,  the  place  where  he  deceaste. 
His  gentle  lady  —  deceas'd  as  he  was  born. 


delight     .     .    p.  xiii.  1.  37     .     .     .     Lastlie,  if  anie  deuise  herein  shall  delight  thee. 


Hamlet,  ii.  2,  300      . 
Much  Ado,  ii.  i,  122 


Man  delights  not  me. 

None  but  libertines  delight  him. 


dernell     .     .    p.  68,  1.  2  .     .     .     .     The  hurtfull  tares,  and  dernell  ofte  doe  growe. 


I  Hen.  VI.  iii.  2,  44. 
K.  Lear,  iv.  4,  4  .     . 


'Twas  full  of  darnel  j  do  you  like  the  taste? 
Darnel,  and  all  the  idle  weeds  that  grow. 


determine    .   p.  x.  1.  9 


Coriol.  iii.  3,  43    .     . 
Coriol.  v.  3,  119  .     . 


heal  the  and  wealthe — determine  with  the  bodie. 

Must  all  determine  here  ? 

I  purpose  not  to  wait,  — till  these  wars  determine. 


distracte  . 


doombe   . 


p.  102,  1.  17    .     .     . 

K.  Lear,  iv.  6,  281   . 
2  Hen.  VI.  iii.  3,  318 

p.  30,  1.  4  .     .     .     . 

As  Like  it,  i.  3,  79    . 
Rom.  and  J.  iii.  2,  67 


Which  when  hee  sawe,  as  one  distracte  with 
care. 

Better  I  were  distract  :  so  should  my  thoughts  be 

severed  from  my  griefs. 
My  hair  be  fix'd  on  end  as  one  distract. 

Wronge     sentence     paste     by     AGAMEMNONS 
doombe. 

Firm  and  irrevocable  is  my  doom,  which  I  have 

pass'd  upon  her. 
Then,    dreadful    trumpet,    sound     the     general 

doom. 


doubt  ...    p.  148,  1.  3 


Rich.  II.  iii.  4,  69     . 
Coriol.  iii.  i,  152.     . 


The  boye  no  harme  did  doubt,  vntill  he  felt  the 
stinge. 

'Tis  doubt  he  will  be. 

More  than  you  doubt  the  change  on't. 


502 


COINCIDENCES. 


[APPENDIX  I. 


WORD.  REFERENCE.  PASSAGE. 

dulcet.     .     .    p.  128,  1.  ii     .     .     .      And  biddes  them  feare,  their  sweet  and  dulcet 

meates. 

As  Like  it,  v.  4,  61    .      According  to  the  fool's  bolt,  Sir,  and  such  dulcet 

diseases. 
Twelfth  N.  ii.  3,  55  .      To  hear  by  the  nose  is  a  dulcet  in  contagion. 


dull     ...    p.  103,  1.  12 


Eeke,  or  eke. 


Hen.  V.  ii.  4,  16 . 
Sonnet  ciii.  1.  8     . 

p.   2,1.   8       .       .       . 

p.  45,  1.  10      .     . 


For  ouermuch,  dothe  dull  the  finest  wittes 

For  peace  itself  should  not  so  dull  a  kingdom. 
Dulling  my  lines  and  doing  me  disgrace. 

Before  whose  face,  and  eeke  on  euerye  side. 
And  eke  this  verse  was  grauen  on  the  brasse. 


M.  N.  Dr.  iii.  I,  85.      Most  brisky  juvenal,  and  eke  most  lovely  Jew. 
All's  Well,  ii.  5,  73  .      With  true  observance  seek  to  eeke  out  that. 
M.  Wives,  ii.  3,  67   .      And  eke  Cavaleiro  Slender. 


englished      .    Title,  1.  5    . 


Englished  and  Moralized. 


M.  Wives,  i.  3,  44    .        —  to  be  English'd  rightly,   is,  I  am  Sir  John 

Falstaff's. 


ercksome     .    p.  118,  1.  4 


With  ercksome  noise,  and  eke  with  poison  fell. 


T.  of  Shrew,  L  2,  l8l     I  know  she  is  an  irksome  brawling  scold. 
2  Hen.  VI.  ii.  I,  56  .      Irksome  is  this  music  to  my  heart. 


erste    ...    p.  i94»  1-  20    . 


eschewed 


As  with  his  voice  hee  erste  did  daunte  his  foes. 


As  Like  it,  iii.  5,  94  .  Thy  company,  which  erst  was  irksome  to  me. 

2  Hen.   VI.  ii.  4,  13  .  That  erst  did  follo\v  thy  proud  chariot  wheels. 

p.  vii.  1.  19      .     .     .  examples — eyther  to  bee  imitated,  or  eschewed. 

M.   Wives,  v.  5,  225  .  What  cannot  be  eschew'd,  must  be  embraced. 


eternised.     .    p.  ii.  1.  32  . 


—  learned  men  haue  eternised  to  all  posterities. 


2  Hen.  VI.  v.  3,  30  .      Saint  Alban's  battle  won  by  famous  York 
Shall  be  eterniz'd  in  all  age  to  come. 


euened     .     .    p.  131,  1.  6      .     .  . 

K.  Lear,  iv.  7,  80  . 

Hamlet,  v.  i,  27  .  . 

extincte   .     .    p.  iv.  1.  32  .     . 

Othello,  ii.  i,  81    .  . 

Rich.  II.  i.  3,  222  . 


If  JEGYPT  spires,  be  euened  with  the  soile. 

To  make  him  even  o'er  the  time  he  has  lost. 
Their  even  Christian. 

deathe  —  coulde    not    extincte    nor    burie    their 
memories. 

Give  renew'd  fire  to  our  extincted  spirits. 
—  be  extinct  with  age. 


APPENDIXI.]       SHAKESPEARE    AND     WHITNEY.  503 

WORD.  REFERENCE.  PASSAGE. 

Facte  .     .     .p.  79,  1.  22  Thinke  howe  his  facte,  was  ILIONS  foule  deface. 

M.  for  M.\.  i,  432  .      Should  she  kneel  down  in  mercy  of  this  fact. 

2  Hen.  VI.  \.  3,  171 .      A  fouler  fact  did  never  traitor  in  the  land  commit. 

fardle  .     .     .    p.  179,  1.  9      ...      Dothe  venture  life,  with  fardle  on  his  backe. 

Hamlet,  iii.  i,  76.     .      Who  would  fardels   bear,   to  groan   and   sweat 

under  a  weary  life  ? 
W.  Tale,  v.  2,  2  .     .      I  was  by  at  the  opening  of  the  fardel. 

falls     .     .     .    p.  176,  1.  7      .     .     .      Euen  so,  it  falles,  while  carelesse  times  wee  spende. 
J.  Cas.  iii.  i,  244      .      I  know  not  what  may  fall ;  I  like  it  not. 

feare    .     .     .    p.  127,  1.  11  Who  while  they  liu'de  did  feare  you  with  theire 

lookes. 

Ant.  and  C.  ii.  6,  24     Thou  canst  not  fear  us,  Pompey,  with  thy  sails. 
M.for  M.  ii.  i,  2      .      Setting  it  up  to  fear  the  birds  of  prey. 

fell .     .     .     .    p.  3,  1.  12  .     .     .     .     Hath  Nature  lente  vnto  this  Serpent  fell. 

M.  N.  Dr.  v.  i,  221     A  lion-fell,  nor  else  no  lion's  dam. 

2  Hen.  VI.  iii.  i,  351     This  fell  tempest  shall  not  cease  to  rage. 

filed     .     .     .    p.  30,  1.  5   .     .     .     .     But  howe  ?  declare,  Vlysses  filed  tonge 

Allur'de  the  ludge,  to  giue  a  ludgement  wronge. 

Macbeth,  iii.  i,  63     .      If 't  be  so,  for  Banquo's  issue  have  I  fil'd  my 
mind. 

fittes    ...    p.  103,  1.  1 1     .     .     .     Sometime  the  Lute,  the  Chesse,  or  Bowe  by  fittes. 
Tr.  and  Cr.  iii.  I,  54     Well,  you  say  so  in  fits. 

floate  .     .     .    p.  7,  1.  10  .     .     .     .      This,  robbes  the  good,  and  setts  the  theeues  a 

floate. 

J.  Cas.  iv.  3,  220     .      On  such  a  full  sea  are  we  now  afloat. 
Macbeth,  iv.  2,  21      .      But  float  upon  a  wild  and  violent  sea. 

foile     .     .     .    p.  4,  1.  10  .     .     .     .      And  breake  her  bandes,  and  bring  her  foes  to  foile. 

Tempest,  iii.  i,  45      .      Did  quarrel  with  the  noblest  grace  she  ow'd, 
And  put  it  to  the  foil. 

fonde  ...    p.  223,  1.  7      ...      Oh  worldlinges  fonde,  that  ioyne  these  two  so  ill. 

M.  for  M.  v.  i,  105.      Fond  wretch,  thou  know'st  not  what  thou  speak'st. 
M.  N.  Dr.  iii.  2,  317     How  simple  and  how  fond  I  am. 


COINCIDENCES. 


[APPENDIX  I. 


WORD. 
forgotte    . 


REFERENCE. 

p.  5,  1.  7    .... 

Othello ',  ii.  3,  178 
Rich.  II.  ii.  3,  37      . 


PASSAGE. 

Yet  time  and  tune,  and  neighbourhood  forgotte. 

How  comes  it,  Michael,  you  are  thus  forgot  ? 
That  is  not  forgot  which  ne'er  I  did  remember. 


foyles  ...    p.  xvii.  1.  18    . 

i  Hen.  IV.  iv.  2,  207     That  which  hath  no  foil  to  set  it  off. 


PERFECTION  needes  no  other  foyles,  suche  helpe? 
comme  out  of  place. 


fraies  . 


p.  51,  1.  6  .     .     .     . 
i  Hen.  IV.  i.  2,  74  . 

M.  Venice,  iii.  4,  68 . 


Unto  the  good,  a  shielde  in  ghostlie  fraies. 

To  the  latter  end  of  a  fray,  and  the  beginning  of 

a  feast. 
And  speak  of  frays,  like  a  fine  bragging  youth. 


frende      .     .   p.  172,  1.  14    • 

Macbeth,  iv.  3,  10 
Hen.  VIII.  i.  2,  140. 


As  bothe  your  Towne,  and  countrie,  you  maye 
frende. 

As  I  shall  find  the  time  to  friend. 
Not  friended  by  his  wish. 


frettes 


p.  92,  1.  i  .     .     .     . 
T.  of  Shrew,  ii.  i,  148 


The  Lute...lack'de  bothe  stringes,  and  frettes. 
She  mistook  her  frets. 


fustie  . 


p.  80,  1.  6  .     .     .     . 
Tr.  and  Cr.  i.  3,  161 


Or  fill  the  sacke,  with  fustie  mixed  meale. 

at  this  fusty  stuff, 
The  large  Achilles... laughs  out  a  loud  applause. 


Can     ...    p.  156,  1.  3      .     . 

Macbeth,  i.  2,  54  . 
Coriol.  ii.  2,  112  . 


At  lengthe  when  all  was  gone,  the  pacient  gan 
to  see. 

The  thane  of  Cawdor  began  a  dismal  conflict. 
—  the  din  of  war  gan  pierce  his  ready  sense. 


ghoste.     .     .    p.  141,  1.  5 


i  Hen.  VI.  i.  i,  67 
Rich.  III.  i.  4,  36 


Beinge  ask'd  the  cause,  before  he  yeelded  ghoste. 

—  cause  him  once  more  yield  the  ghost. 

—  often  did  I  strive  to  yield  the  ghost. 


ginnes.     .     .    p.  97,  1.  3  .     .     .     .  For  to  escape  the  fishers  ginnes  and  trickes. 

Twelfth  N.  ii.  5,  77  .  Now  is  the  woodcock  near  the  gin. 

2  Hen.   VI.  iii.  i  .     .  Be  it  by  gins,  by  snares. 

gladde      .     .    p.  198,  1.  10    .     .     .  And  CODRVS  had  small  cates,  his  harte  to  glaclde. 


3  Hen.   VI.  iv.  6,  93 . 
Tit.  An.  i.  2,  166 


—  did  glad  my  heart  with  hope. 
The  cordial  of  mintage  to  glad  my  heart ! 


APPENDIXI.]       SHAKESPEARE    AND     WHITNEY, 


505 


WORD.  REFERENCE. 

glasse.     .     .    p.  113,  1.  6      .     .     . 

Twelfth  N.  iii.  4,  363 
C.  Errors,  v.  I,  416. 
J.  Ctes.  i.  2,  68  .  . 
Rich.  II.  i.  3,  208  . 


PASSAGE. 

An  acte  moste  rare,  and  glasse  of  true  renoume. 

I  my  brother  know  yet  liuing  in  my  glasse. 
Methinks  you  are  my  glass,  and  not  my  brother. 
So  well  as  by  reflection,  I,  your  glass. 
Even  in  the  glasses  of  thine  eyes  I  see  thy  grieved 
heart. 


glosse .     .     .    p.  219,  1.  17    .     .     .     O  loue,   a  plague,  thoughe  grac'd  with  gallant 

glosse. 

L.  L.  Lost,  ii.  i,  47  .      The  only  soil  of  his  fair  virtue's  gloss. 

Hen.  VIII.  v.  3,  71  .      Your  painted  gloss  discovers, — words  and  weak- 


gripe    . 


ruerdon 


p.  75,  1.  2  .     .     .     .      Whose  liuer  still,  a  greedie  gripe  dothe  rente, 
p.  199,  1.  i,  2  .     .     .      If  then,  content  the  chiefest  riches  bee, 

And  greedie  gripes,  that  doe  abounde  be  pore. 

Cynib.  i.  6,  105    .     .     Join  gripes  with  hands  made  hard  with  hourly 

falshood. 
Hen.   VIII.  v.  3,  100     Out  of  the  gripes  of  cruel  men. 


p.  15,  L  10      ... 

Much  Ado,  v.  3,  5     . 
I  Hen.  VI.  iii.  i,  170 


And  shall  at  lenghte  Actseons  guerdon  haue. 

Death  in  guerdon  of  her  wrongs. 
—  in  reguerdon  of  that  duty  done. 


guide  .     .     .    p-  33,  1-  5  •     •     • 

Timon,  i.  i,  244  . 
Othello,  ii.  3,  195. 

guise  ...    p.  159,  1-9      •     • 

Macbeth,  v.  I,  16. 
Cymb.  v.  I,  32      . 

Hale,  hal'de   p.  71,  L  a.,     .     . 

p.  37,  1.  10      .     . 


And  lefte  her  younge,  vnto  this  tirauntes  guide. 

Bray  entertain  them  ;  give  them  guide  to  us. 
My  blood  begins  my  safer  guides  to  rule. 

Inquired  what  in  sommer  was  her  guise. 

This  is  her  very  guise ;  and,  upon  my  life,  fast  asleep. 
To  shame  the  guise  o'  the  world. 

In  hope  at  lengthe,  an  happie  hale  to  haue. 
And  AJAX  gifte,  hal'de  HECTOR  throughe  the 
fielde. 


I  Hen.  VI.  v.  4,  64  .      Although  ye  hale  me  to  a  violent  death. 

Tit.  An.  v.  3,  143     .      Hither  hale  that  misbelieving  Moor. 

I  Hen.   VI.  ii.  5,  3    .      Even  like  a  man  new  haled  from  the  rack. 


happe . 


p.  147,  1.  13    .     .     . 

p.   2OI,  1.   29      .       .       . 

T.  of  Shrew,  iv.  4,  102 
Rom.  andj.  ii.  2,  190 


So  ofte  it  happes,  when  wee  our  fancies  feecle. 
Wherefore,    when    happe,    some   goulden  honie 
bringes  ? 

Hap  what  hap  may,  I'll  roundly  go  about  her. 
His  help  to  crave,  and  my  dear  hap  to  tell. 

3  T 


506 


COINCIDENCES. 


[APPENDIX  I. 


WORD.  REFERENCE. 

harmes    .     ,   p.  183,  1.  7      ,     .     . 

I  Hen.  VI.  iv.  7,  30. 
Rich.  III.  ii.  2,  103  . 


PASSAGE. 
In  marble  harde  our  harmes  wee  always  graue. 

My  spirit  can  no  longer  bear  these  harms. 
None  can  cure  their  harms  by  wailing. 


hatche      .     .    p.  180,  1.  9      .     .     .  A  wise  man  then,  settes  hatche  before  the  do  re. 

K.  John,  i.  I,  171     .  In  at  the  window,  or  else  o'er  the  hatch. 

K.  Lear,  iii.  6,  71      .  Dogs  leap  the  hatch  and  all  are  fled. 

haughtie  .     .    p.  53,  1.  7  .     .     .     .  In  craggie  rockes,  and  haughtie  mountaines  toppe. 

i  Hen.  VI.  iv,  i,  35.  Valiant  and  virtuous,  full  of  haughty  courage. 


hauocke  .     .   p.  6,  1.  6 


J.  C<zs.  iii.  i,  274 
K.  John,  ii.  I,  220 


Till  all  they  breake,  and  vnto  hauocke  bringe. 

Cry  "  Havock,"  and  let  slip  the  dogs  of  war. 
Wide  havock  made  for  bloody  power. 


heste  ...   p.  87,  1.  10     ... 

Tempest,  i.  2,  274      . 
Tempest,  iii.  i,  37 

hidde  .     .     .    p.  43,  1.  i  .     .     .     . 

Much  Ado,  v.   i,   172 
M.  Venice,  i.  i,  115  . 


And  life  resigne,  to  tyme,  and  natures  heste. 

Refusing  her  grand  hests. 

I  have  broke  your  hest  to  say  so. 

By  vertue  hidde,  behoulde,  the  Iron  harde. 

Adam,  when  he  was  hid  in  the  garden. 

Two  grains  of  wheat  hid  in  two  bushels  of  chaff. 


Impe  ...   p.  186,  1.  14    ,     .     . 

p.  19,  1.  9  .     .     .     . 
2  Hen.  IV.  v.  5,  43  . 

L.  L.  Lost,  v.  2,  581 
indifferencie.   p.  xiv.  1.  29     .     .     . 

K.  John,  ii.  i,  579    . 
2  Hen.  IV.  iv.  3,  20. 


You  neede  not  THRACIA  seeke,  to  heare  some 

impe  of  ORPHEVS  playe. 
But  wicked  Impes,  that  lewdlie  runne  their  race. 

The  heavens  thee  guard  and  keep,   most  royal 

imp  of  fame. 
Great  Hercules  is  presented  by  this  imp. 

those   that  are  of  good  iudgemente,  with  indif- 
ferencie will  reade. 

Makes  it  take  head  from  all  indifferency. 
An  I  had  but  a  belly  of  any  indifferency. 


ingrate     .     .    p.  64,  1.  3  .     .     .     .      And  those,  that  are  vnto  theire  frendes  ingrate. 

-  will  not  so  graceless  be,  to  be  ingrate. 


T.  of  Shrew,  \.  2,  266 
I  Hen.  IV.  i,  3,  137. 


As  this  ingrate  and  canker'd  Bolinbroke. 


ioye     .     .     .    p.  5>  1-  5     •     •     •     • 

T.  of  Shrew,  Ind.  2,  76 
2  Hen.  VI.  iii.  2,  364 


And  bothe,  did  ioye  theire  iarringe  notes  to  souncle. 

Oh,  how  we  joy  to  see  your  wit  restored. 
Live  thou  to  joy  thy  life. 


APPENDIX  I.]       SHAKESPEARE    AND     WHITNEY.  507 

WORD.  REFERENCE.  PASSAGE. 

Kinde.     .     .    p.  49,  1.  16      .     .     .     And  spend  theire  goodes,  in  hope  to  alter  kinde. 
p.  178,  1.  8      .     .     .      And   where   as   malice  is  by  kinde,   no  absence 
helpes  at  all. 

Ant.  and  C.  v.  2,  259     Look  you,  that  the  worm  will  do  his  kind. 
.?.  Cces.  i.  3,  64    .     .      Why  birds  and  beasts,  from  quality  and  kind, 
As  Like  it,  iii.  2,  93  .      If  the  cat  will  after  kind, 
So,  be  sure,  will  Rosalind. 

knitte  .     .     .    p.  76,  1.  2  .     .     .     .      And  knittes  theire  subiectes  hartes  in  one. 

M.  N.  Dr.  iv.  I,  178     These  couples  shall  eternally  be  knit. 
Macbeth,  ii.  2,  37.     .      Sleep  that  knits  up  the  ravell'd  sleave  of  care, 

knotte      .     .    p.  142,1.  10    ...     Yet,  if  this  knotte  of  frendship  be  to  knitte. 

Cymb.  ii.  3,  116   .     .      To  knit  their  souls... in  self- figur'd  knot 
M.  Wives,  iii.  2,  64  .      He  shall  not  knit  a  knot  in  his  fortune. 

Launch'de    .    P-  75>  1-  JI      ...      Which  being  launch' de  and  prick'd  with  inward 

care. 

Rich.  III.  iv.  4,  224.      Whose  hand  soever  lanced  their  tender  hearts. 
Ant.  and  C.  v.  I,  36.      We  do  lance  diseases  in  our  bodies. 

leaue   .     .         P-  80,  1.  5  .     .     .     .      For  noe  complaintes,  coulde  make  him  leaue  to 

steale. 

Tr.  and  Cr.  iii.  3,  132     What  some  men  do,  while  some  men  leave  to  do ! 

let  .     .     .     .    p.  89,  1.  8  .     .     .     .     But  Riuers  swifte>  their  passage  still  do  let. 

p.  209,  1.  9      ...     But,  when  that  nothinge  coulde  OPIMIVS  sleep- 
inge  let. 

Hamlet,  i.  4,  85    .     .      By  heaven,  I'll  make  a  ghost  of  him  that  lets  me. 
T.  G.   Ver.  iii.  i,  113     What  lets,  but  one  may  enter  at  her  window. 

like      .     .     .    p.  xi.  1.  14  .     .     .     .      if  it  shall  like  your  honour  to  allowe  of  anie  of 

them. 

K.  Lear,  ii.  2,  85       .      His  countenance  likes  me  not. 
T.  G.  Ver.  iv.  2,  54  .      The  music  likes  you  not. 

linke,  linckt.    p.  226,  1.  8      ...     Take  heede  betime :   and   linke  thee  not  with 

theise. 

p.  133,  1.  4      ...      And  heades  all  balde,  weare  newe  in  wedlocke 
linckt. 

i  Hen.  VI.  v.  5,  76  .      Margaret,  he  be  link'd  in  love. 
Hamlet,  i.  5,  55    .      •      though  to  a  radiant  angel  linked. 


5°8 


COINCIDENCES. 


[APPENDIX  I. 


WORD. 
liste 


lobbe  . 


lotterie 


lustie 


Meane 


mid 


misliked 


misse  . 


REFERENCE.  PASSAGE. 

p.  63,  1.  3   .     .     .     .      And  with  one  hande,  he  guydes  them  where  he 
liste. 


Let  Grimme  haue  coales  :  and  lobbe  his  whippe 
to  lashe. 


T.  of  Shrew,  iii.  2, 159     Now  take  them  up,  quoth  he,  if  any  list. 

p.  I4S»  L  6      • 

M.  N.  Dr.  ii.  I,  16  .      Farewell,  thou  lob  of  spirits  ;  I'll  be  gone. 

p.  6 1 Her  Maiesties  poesie,   at   the  great   Lotterie  in 

London. 

M.  Venice,  i.  2,  25    .      The  lottery — in  these  three  chests  of  gold,  silver 

and  lead. 
AlPs  Well,  i.  3,  83    .        —  'twould  mend  the  lottery  well. 


p.  9,  1.  i     .     . 


A  YOUTHEFVLL  Prince,  in  prime  of  lustie  yeares. 


As  Like  it,  ii.  3,  52   .      Therefore  my  age  is  as  a  lusty  winter. 
T.  G.  Ver.  iv.  2,  25  .,     Let's  tune,  and  to  it  lustily  a  while. 


p.  23,  1.  12      .     .     .      The  meane  preferre,  before  immoderate  gaine. 

M.  Venice,  i.  2,  6      .      It  is  no  mean  happiness,  therefore,  to  be  seated 
in  the  mean. 


p.  160,  1.  i       ...      A  Satyr e,  and  his  hoste,  in  mid  of  winter's  rage. 
Rich.  III.  v.  3,  77    .      About  the  mid  of  night  come  to  my  tent. 


p.  xiv.  1.  22 


Some  gallant  coulours  are  misliked. 


2  Hen.  VI.  i.  i,  135.  'Tis  not  my  speeches  that  you  do  mislike. 

3  Hen.   VI.  iv.  i,  24.  Setting  your  scorns  and  your  mislike  aside. 

p.  149,  1.  15    .     .     .  Or  can  we  see  so  soone  an  others  misse. 

i  Hen.  IV.  v.  4,  105  O,  I  should  have  a  heavy  miss  of  thee. 


mockes   and   p.  169,  1.  4 
mowes. 


Of  whome  both  mockes,  and  apishe  mowes  he 
gairi'd. 


Othello,  v.  2,  1 54 .     .      O  mistress,  villainy  hath  made  mocks  of  love  ! 
Cymb.  i.  7,  40.     .     .        —  contemn  with  mows. 

motley      .     .    p.  81,  1.  5  .     .          .     A  motley  coate,  a  cockes  combe,  or  a  bell. 

Hen.   VIII.  Prol.  15.      A  fellow  in  a  long  motley  coat,    guarded  with 

yellow. 
As  Like  it,  ii.  7,  43   .      I  am  ambitious  for  a  motley  coat. 


APPENDIX  I.]       SHAKESPEARE    AND     WHITNEY. 


5°9 


WORD. 

muskecattes. 


Neare      .     . 


REFERENCE.  PASSAGE. 

p.  79,  1.  I,  2    .     .     .      Heare  LAIS  fine,  doth  braue  it  on  the  stage, 

With  muskecattes   sweete,   and  all  shee  coulde 
desire. 

AlPs  Well,  v.  2,  1 8  .         -    fortune's  cat, — but  not  a  musk-cat, 
p.  12,  1.  3   .     ,     . 


Kick.  II.  v.  i,  88 
newfanglenes   p.  xiv.  1.  19     .     . 


Where,  thowghe  they  toile,  yet  are  they  not  the 
neare. 

Better  far  off,  than — near,  be  ne'er  the  near. 


too   much   corrupte   with   curiousnes   and    new- 
fanglenes. 

L.  L.  Lost,  i.  i,  106.      Than  wish  a  snow  in  May's  new  fangled  shows. 
As  Like  it,  iv.  i,  135       —  more  new-fangled  than  an  ape. 


nones  ...    p-  103,  1.  10 


And  studentes  muste  haue  pastimes  for  the  nones. 


I  fa  in  let,  iv.  7,  159     .      I'll  have  prepared  him  a  chalice  for  the  nonce. 
i  Hen.  IV.  i.  2,  172.      I  have  cases  of  buckram  for  the  nonce. 


Occasion 


p.  181,  1. 


What  creature  thou  ?     Occasion  I  doe  showe. 


ope 


K.  John,  iv.  2,  125  .      Withhold  thy  speed,  dreadful  occasion. 
2  Hen.  IV.  iv.  I,  71 .      And  are  enforced  from  our  most  quiet  there, 
By  the  rough  torrent  of  occasion. 

p.  71,  1.  9  .     .     .     .      Let  Christians  then,  the  eies  of  faithe  houlde  ope. 

C.  Errors,  iii.  i,  73  .      I'll  break  ope  the  gate. 

2  Hen.   VI.  iv.  9,  13.      Then,  heaven,  set  ope  thy  everlasting  gates. 


Packe  .     .     .    P-  42>  1-  9  •     •     •     •      Driue  VENVS  hence,  let  BACCHVS  further  packe. 

C.  Errors,  iii.  2,  151     'Tis  time,  I  think,  to  trudge,  pack  and  be  gone. 
7\  of  Shrew,  ii.  i,  176     If  she  do  bid  me  pack,  I'll  give  her  thanks. 


paine 


pelfe    .     .     . 


personage 


p.  85,  1.  8  .     .     .     .      The  Florentines  made  banishement  theire  paine. 

M.  for  M.  ii.  4,  86    .      Accountant  to  the  law  upon  that  pain, 
Rich.  II.  i.  3,  153     •         —  against  thee  upon  pain  of  life. 

p.  198,  1.  8       ...      No  choice  of  place,  nor  store  of  pelfe  he  had. 

Tunon,  i.  2      ...      Immortal  gods,  I  crave  no  pelf, 
I  pray  for  no  man  but  myself. 

p.  187,  1.  8      .     .     .      And  dothe  describe  theire  personage,  and  theire 
guise. 

Twelfth  N.  i.  5,  146.      Of  what  personage  and  years  is  he? 

]\1.  N.  Dr.  iii.  2,  292     And  with  her  personage,  her  tall  personage. 


510 


COINCIDENCES. 


[APPENDIX  I. 


WORD.  REFERENCE. 

pickthankes.    p.  150,  1.  4      .     .     . 


PASSAGE. 

With   pickthankes,  blabbes,   and   subtill   Sinons 


broode. 
Hen.  IV.  iii.  2,  24.      By  smiling  pick-thanks,  and  base  news  mongers. 


pikes  ...    p.  41,  1.  17      .     .     . 

Much  Ado,  v.  2,  1 8  . 
3  Hen.   VI.  i.  i,  244. 

pill.     ...    p.  151*  1.  4      •     •     • 
Timon,  iv.  I,  II  .     . 

pithie  .     .     .    p.  x.  1.  31   .     .     .     . 
T.  of  Shrew,  iii.  I,  65 

poastes    .     .    p.  39,  1.  7  .     .     .     . 
Tr.  and  Cr.  i.  3,  93 . 

preiudicate  .    p.  xiii.  1.  44     ... 
Airs  Well,  i.  2,  7     . 


And  thoughe  long  time,  they  doe  escape  the  pikes. 

You  must  put  in  the  pikes  with  a  vice. 

The  soldiers  should  have  toss'd  me  on  their  pikes. 

His  subiectes  poore,  to  shaue,  to  pill,  and  poll. 

Large  handed  robbers  your  grave  masters  are 
And  pill  by  law. 

a  worke  both  pleasaunte  and  pithie. 

To  teach  you  gamut  in  a  briefer  sort, 
More  pleasant,  pithy,  and  effectual. 

And  he  that  poastes,  to  make  awaie  his  landes. 
And  posts,  like  the  commandment  of  a  king. 

with  a  preiudicate  opinion  to  condempne. 

Wherein    our    dearest    friend    prejudicates    the 
business. 


proper      .     .    p.  iv.  1.  7    .     .     .     .     that  which  hee  desired  to  haue  proper  to  him  selfe. 
M.  for  M.  v.  i,  no.      Faults  proper  to  himself :  if  he  had  so  offended. 


purge  ...   p.  68,  1.  5 


M.  N.  Dr.  iii.  i,  146 
Rom.  andj.  v.  3,  225 


Quaile     .     .   p.  in,  1.  5 


Ant.  and  C.  v.  2,  85. 
3  Hen.  VI.  ii.  3,  54  . 


When  graine  is  ripe,  with  sine  to  purge  the  seede. 

I  will  purge  thy  mortal  grossness  so. 

And  here  I  stand,  both  to  impeach  and  purge 

Myself  condemned  and  myself  excused. 

No  paine,  had  power  his  courage  highe  to  quaile. 

But  when  he  meant  to  quail  and  shake  the  orb. 
This  may  plant  courage  in  their  quailing  breasts. 


queste 


Reaue 


p.  213,  1.  5      .     .     . 

M.  for  M.  iv.  I,  60  . 
C.  Errors,  i.  I,  130  . 


But  yet  the  Moone,  who  did  not  heare  his  queste. 

Run  with  these  false  and  most  contrarious  quests. 
Might  bear  him  company  in  the  quest  of  him. 


p.  25,  1.  3  .     .     .     .      Or  straunge  conceiptes,  doe  reaue  thee  of  thie  rest. 

All's  Well,  v.  3,  86  .      To  reave  her  of  what  should  stead  her  most. 
2  Hen.  VI.  v.  i,  187.      To  reave  the  orphan  of  his  patrimony. 


APPENDIX!.]       SHAKESPEARE    AND     WHITNEY. 


WORD. 

rente   .     . 


REFERENCE. 

p.  30,  1.  3   .     .     .     . 

Tit.  An.  iii.  i,  261    . 
2  Hen.   VI.  i.  I,  121  . 


PASSAGE. 

What  is  the  cause,  shee  rentes  her  goulden  haire  ? 

Rent  off  thy  silver  hair  (note). 
torn  and  rent  my  very  heart. 


npes 


roomes     . 


ruthe  . 


p.  23, 1. 1  .   .   .   . 

As  Like  it,  ii.  7,  26   . 
2  Hen.  IV.  iv.  i,  13. 

p.  186,  1.  12    .     .     . 


3  Hen.  VI.  iii.  2,  131 
Rom.  and  J.  i.  5,  24. 


Rich.  II.  iii.  4,  1  06  . 
Coriol.  i.  i,  190    .     . 


When  autumne  ripes,  the  frutefull  fieldes  of  graine. 

We  ripe  and  ripe  and  then. 

He  is  retired,  to  ripe  his  growing  fortunes. 


the  trees,  and  rockes,  that  lefte  their  roomes,  his 
musicke  for  to  heare. 

the  unlook'd  for  issue — take  their  rooms,  ere  I 

can  place  myself. 
—  give  room  !  and  foot  it,  girls. 

Three  furies  fell  which  turne  the  worlde  to  ruthe. 

Rue  even  for  ruth. 

Would  the  nobility  lay  aside  their  ruth. 


ruthefull  .     .    p.  13,  1. 


3  Hen.  VI.  ii.  5,  95  . 
Tr.  and  Cr.  v.  3,  48 


Of  NIOBE,  behoulde  the  ruthefull  plighte. 

O,  that  my  death  would  stay  these  ruthful  deeds. 
Spur  them  to  ruthful  work,  rein  them  from  ruth  ! 


Sauced    .     .    p.  147,  1.  4 


Tr.  and  Cr.  i.  2,  23  . 
Coriol.  i.  9,  52      .     . 


He  founde  that  sweete,  was  sauced  with  the  sower. 

His  folly  sauced  with  discretion. 
—  dieted  in  praises  sauced  with  lies. 


scanne     . 


scape  . 


p.  95,  1.  6  .     .     .  . 

Othello,  iii.  3,  248  . 

Hamlet,  iii.  3,  75 .  . 

p.  24,  1.  4  .     .     .  . 
K.  Lear,  ii.  i,  So 


sillye  ...    p.  194,  1.  7      ... 

3  Hen.  VI.  ii.  5,  43  . 
Cymb.  v.  3,  86      .     . 


sith      ...    p.  109,  1.  3      .     .     . 

ZHen.  VI.  i.  i,  no. 
Othello,  iii.  3,  415      • 


Theise  weare  the  two,  that  of  this  case  did  scanne. 

I  might  entreat  your  honour  to  scan  this  thing  no 

further. 
That  would  be  scann'd  ;  a  villain  kills  my  father. 

And  fewe  there  be  can  scape  theise  vipers  vile, 
the  villain  shall  not  scape. 

For,  as  the  wolfe,  the  sillye  sheep  did  feare. 

—  looking  on  their  silly  sheep, 
there  was  a  fourth  man  in  a  silly  habit. 

Andsithe,  the  wo  ride  might  not  their  matches  finde. 

Talk  not  of  France,  sith  thou  hast  lost  it  all. 
But,  sith  I  am  enter'd  in  this  cause  so  far. 


5*2 


COINCIDENCES. 


[APPENDIX  I. 


WORD. 
sithe    . 


REFERENCE. 

p.  225,  1.  6      ... 
Z.  Z.  Lost,  I  1,6     . 

Ant.  and  C.  iii.  13,  193 


PASSAGE. 

For,  time  attendes  with  shredding  sithe  for  all. 

That  honour  which  shall  bate  his  scythe's  keen 

edge. 

I'll  make  death  love  me,  for  I  will  contend 
Even  with  his  pestilent  scythe. 


skante      .     .    p.  199,  1. 


Ant.  and  C.  iv.  2,  21 
K.  Lear,  iii.  2,  66     . 


And,  whilst  wee  thinke  our  webbe  to  skante. 

Scant  not  my  cups. 

Return,  and  force  their  scanted  courtesy. 


skap'd      .     .    P-  153,  1- 


3  Hen.  VI.  ii.  I,  I 
Hamlet,  i.  3,  38    . 


The  stagge,  that  hardly  skap'd  the  hunters  in  the 
chase. 

I  wonder  how  our  princely  father  scap'd. 
Virtue  itself  'scapes  not  calumnious  strokes. 


soueraigne 


p.  161,  1.  8      ...      But  that  your  tonge  is  soueraigne,  as  I  heare. 

Coriol.  ii.  I,  107  .     .      The  most  sovereign  prescription  in  Galen  is  but 
empyric. 


spare  .     .     .    P-  60,  1.  5  .     .     .     . 

As  Like  it,  iii.  2,  1 8  . 
2  Hen.  IV.  iii.  2,  255 


VLYSSES  wordes  weare  spare,  but  rightlie  plac'd. 

As  it  is  a  spare  life  look  you. 

O  give  me  the  spare  men,  and  spare  me. 


square 


p.  140,  1.  8 


Ant.  &>  C.  iii.  13,  41 
Tit.  An.  ii.  i,  99. 


Each  bragginge  curre,  beginnes  to  square,  and 
brail. 

Mine  honesty  and  I  begin  to  square. 
And  are  you  such  fools  to  square  for  this  ? 


Stall'd  . 


AlPs  Well,  i.  3,  116. 
Rick.  III.  i.  3,  206  . 


And  to  be  stall'd,  on  sacred  iustice  cheare. 

Leave  me  ;  stall  this  in  your  bosom. 

Deck'd  in  thy  rights,  as  thou  art  stall'd  in  mine. 


starkc.     .     .    p.  ix.  1.  31  .     .     . 

i  Hen.  IV.  v.  3,  40  . 
Rom.  andj.  iv.  i,  103 

stithe  ...    P-  i92»  1-5      •     • 

Hamlet,  iii.  2,  78.     . 
Tr.  and  Cr.  iv.  5,  255 


whose   frendship  is  frozen,   and   starke   towarde 
them. 

Many  a  nobleman  lies  stark  and  stiff. 

Shall  stiff,  and  stark  and  cold,  appear  like  death. 

For  there  with  strengthe  he  strikes  vppon  the 
stithe. 

And   my  imaginations   are   as   foul   as  Vulcan's 

stithy. 
By  the  forge  that  stithied  Mars  his  helm. 


APPENDIXI.]       SHAKESPEARE    AND     WHITNEY. 


WORD. 

swashe     . 


REFERENCE. 

p.  I45>  1-5      ... 

Rom.  and  J.  i.  I,  60. 
As  Like  it,  i.  3,  1  16  . 


PASSAGE. 

Giue   PAN,    the  pipe;    giue  bilbowe  blade,   to 
swashe. 

Gregory,  remember  thy  swashing  blow. 
We'll  have  a  swashing  and  a  martial  outside. 


Teene       .     .    p.  138,  1.  14    .     .     .     Not  vertue  hurtes,  but  turnes  her  foes  to  teene. 


L.  L.  Lost,  iv.  3,  160 
Rom.  and  J.  i.  3,  14. 

threate     .     .    p.  85,  1.  n      .     .     . 


Rich.  III.  i.  3,  113   . 
Tit.  An.  ii.  I,  39.     . 


Of  sighs,  of  groans,  of  sorrow,  and  of  teene. 
To  my  teen  be  it  spoken. 

And  eke  Sainct   Paule,  the  slothful  thus  doth 
threate. 

What  threat  you  me  with  telling  of  the  king? 
Are    you   so   desperate    grown    to    threat    your 
friends  ? 


Vndergoe     .    p.  223,  1.  3      ... 

Miich  Ado,  v.  2,  50  . 
Cymb.  iii.  5,  no  .     . 


First,    vndergoes   the   worlde   with   might,   and 
maine. 

Claudio  undergoes  my  challenge. 
—  undergo  those  employments. 


vnmeete  .     .    p.  81,  1.  12 


M.  for  AT.  iv.  3,  63  . 
Much  Ado,  iv.  i,  181 


And  fooles  vnmeete,  in  wisedomes  seate  to  sitte. 

A  creature  unprepar'd,  unmeet  for  death. 
Prove  you  that  any  man  convers'd  with  me  at 
hours  unmeet. 


vnneth     .     .    p.  209,  1.  5,  6 .     .     . 


vnperfecte 


2  Hen.  VI.  ii.  4,  8    . 
p.  122,  1.  10    .     .     . 

Othello,  ii.  3,  284.     . 


At    lengthe,    this    greedie    carle    the   Lethergie 

posseste  : 
That  vnneth  hee  could  stere  a  foote. 

Uneath  may  she  endure  the  flinty  streets. 

Behoulde,  of  this  vnperfecte  masse,  the  goodly 
worlde  was  wroughte. 

One  unperfectness  shews  me  another.  . 


vnrest       .     .    p.  94,  1.  12      .     .     .     It  shewes  her  selfe,  doth  worke  her  owne  vnrest. 


Rich.  III.  iv.  4,  29  . 
Rich.  II.  ii.  4,  22      . 


Rest  thy  unrest  on  England's  lawful  earth. 
Witnessing  storms  to  come,  woe  and  unrest. 


vnsure      .         p.  191,  1.  3      -     •     •     So>  manie  men  do  stoope  to  sightes  vnsure. 


Macbeth,  v.  4,  19.     . 
Hamlet,  iv.  4,  5  1  .     . 


Thoughts  speculative  their  unsure  hopes  relate. 
Exposing  what  is  mortal  and  unsure. 

3  u 


COINCIDENCES. 


[APPENDIX  I. 


WORD.  REFERENCE. 

vnthriftes     .    p.  17,  1.  18 


PASSAGE. 
And  wisedome  still,  againste  such  vnthriftes  cries. 


Rich.  II.  ii.  3,  1 20    .      My  rights  and  royalties — given  away  to  upstart 

unthrifts. 
M.  Venice,  v.  i,  16  .      And  with  an  unthrift  love  did  run  from  Venice. 


Wagge     .     .    p.  148,  1.  14 


The  wanton  wagge  with  poysoned  stinge  assay'd. 


L.  L.  Lost,  v.  2,  108     Making  the  bold  wag  by  their  praises  bolder. 
W.  Tale,  i.  2,  65 .     .      Was  not  my  lord  the  verier  wag  of  the  two. 


weakelinges.   p.  16,  1.  10 

3  Hen.  VI.  v. 


p.  24,  1.  7 


.     .  Wee  weakelinges  prooue,  and  fainte  before  the  ende. 

37  .  And,  weakling,  Warwick  takes  his  gift  again. 

.     .  The  faithfull  wighte,  dothe  neede  no  collours  braue. 

M.  Wives,  i.  3,  35     .  I  ken  the  wight :  he  is  of  substance  good. 

Othello,  ii.  I,  157.     .  She  was  a  wight,  if  ever  such  wight  were. 

p.  6,  1.  5     .     .     .     .  They  praunce,  and  yerke,  and  out  of  order  flinge. 

Hen.  V.  iv.  7,  74      .  With  wild  rage,  yerk  out  their  armed  heels. 

Othello,  i.  2,  5 .     .     .  I  had  thought  to  have  yerked  him  here  under  the 
ribs. 


younglinge  .    p.  132,  1.  20    .     .     .     Before  he  shotte  :  a  younglinge  thus  did  crye. 

T.  of  Shrew,  ii.  i,  329     Youngling  !  thou  canst  not  love  so  dear  as  I. 
Tit.  An.  iv.  2,  93      .      I  tell  you,  younglings,  not  Enceladus. 


wighte 


Yerke  . 


nnibncitSf  1564,  p.  15- 


II. 


UBJECTS  OF  THE  EMBLEM  -  IMPRESE  AND 
ILLUSTRATIONS,  WITH  THEIR  MOTTOES 
AND  SOURCES. 


The  *  denotes  there  is  no  device  given  in  our  volume. 


DEVICE.  PAGE.  MOTTO. 

Actaeon  and  Hounds  .     275  In  receptatores  sicariorum 

276  Ex  domino  servus 

277  Voluptas  (zrumnosa     . 
278 

Adam    hiding    in   the    416  Domintts  viuit  &*  videt 
Garden. 

416  Vbies? 

416  Vbies?      . 


SOURCE. 

Alciat,  Einb.  52,  Ed.  1551, 

p.  60. 
Aneau's    Picta    Peesis,    Ed. 

1552,  f.  41- 

Sambucus,  Ed.  1564,  p.  128. 
Whitney's  Emb.    Ed.   1586, 

P-  15- 
Whitney's  Emb.    Ed.    1586, 

p.  229. 

Montenay's  Emb.  Ed.  1584. 
Slamm  Buck,  Emb.  65,  Ed, 

1619,  p.  290. 
Vander  Veen's  Zinne-beelden, 

Ed.  1642. 


Adam's  Apple.    PI.  X.     132      Vijt  Adams  Appel  Sproot 

Ellende  Zonde  en  Doodt. 
Adamant  on  the  Anvil    347     Qvem  nvlla  pericvla  terrent .      Le  Bey  de  Batilly's  Emb.  29, 

.  Ed.  1596. 

./Eneas     bearing     An-    191     Pietas  filiorum  in  parentes   .      Alciat,  Emb.  194,  Ed.  1581. 
chises. 

191  „  ,,  .      Whitney's  Emb.    Ed.   1586, 

p.  163. 

Alciat's  Device  .         .211      Virtuti fortune  comes .         .      Giovio,  Dev.  <&c.  Ed.  1561. 
*  Annunciation   of  the    1 24     Fortittido  ejus  Rhodum  tenuit     Drummond's   Scotland,    Ed. 

Virgin  Mary.  1665. 

Ants  and  Grasshopper    149     Contraria   industrial  ac  de-     Freitag's    Myth.    Eth.    Ed. 

sidice  prarnia.  I579>  P-  29- 

148     Dum  (ztatis  ver  agitur :  con-     Whitney's  Emb.    Ed.    1586, 

stile  brumce.  p.  15  9- 

Ape  and  Misers  Gold,     128,    Male  parta  male  dilabuntur     Whitney's  Emb.   Ed.    1586, 
487  p.  169. 

486  ,,  ,,  Paradin's     Dev.    Her.     Ed. 

1562,  f.  174. 


5i6  SUBJECTS    OF  DEVICES,  [APPENDIX  II. 

DEVICE.          PAGE.  MOTTO.  SOURCE. 

Ape  and  Miser's  Gold    128     Ut parta  labuntur       .         .      Cullum's /fomrto/,  Ed.  1813, 

P-  159- 

486              Symeoni's  Imprese,  &c. 

Apollo    receiving    the    379     Foetarum  gloria .         .         .  Le  Bey  de  Batilly's  .£w<£.  51, 

Christian  Muse.  Ed.  1596. 

*Apple  -  tree    on     a    123     Per  vinctda  c rescit       .         .  Drummond's   Scotland,    Ed. 

Thorn.  1665. 

Arion  and  the  Dolphin    280     /;/  auaros,  vel  quibus  melior  Alciat,  Emb.  89,  Ed.  1581, 

conditio  ab  extranet?  of-  p.  323. 
fertur. 

280,   281     Homo  homini  lupus     .         .  Whitney's  Emb.    Ed.    1586, 

p.  144. 

*Arrow  through  three    123     Dederit    ne    viam    Casusve  Drummond's   Scotland,    Ed. 

Birds.                                           Deitsve.  1655. 

Arrow  wreathed  on  a    183     Sola  viuit  in  illo          .         .  Paradin's    Dev.    Her.     Ed. 

Tomb.  1562,  f.  30. 

126                 ,,                     ,,  Gent.  Mag.  Nov.  i8n,p.  410. 

Ass  and  Wolf     .         •       S3     •         •         •         •         •         •  Dyalogus  Creaturarum,  Ed. 

1480. 

54     Scelesti    hominis    imago,    et  Apologi  Great.    Ed.  1584,  f. 

exitus.  54. 

Astronomer,    Magnet,    335     Mens  immota  manet    .         .  Sambucus'  Emb.    Ed.  1584, 

and  Pole-star.  p.  84. 

335                 „                    ,,  Whitney's  Emb.   Ed.    1586, 

P-  43- 
Athenian  Coin   .         .         8     A0E  .....      Eschenburg's      Man.       Ed. 

1844,  p.  351. 
*Atlas         .         .         .     245     Sustinet  nee  fatiscit      .         .      Giovio's  Dialogue,  Ed.  1561, 

p.  129. 


Bacchus     .         .         .247     Ebrietas     ....      Boissard's  Theat.  V.  H.  Ed. 

1596,  p.  213. 
247,  248     ......     Le  Microcosme,  Ed.  1562. 

248     In  statuam  Bacchi      .         .     Alciat,  Emb.  Ed.  1581,  p.  113. 
248  „  ,,  Whitney's  Emb.    Ed.    1586, 

p.  187. 
Ban -dog     .         .         .    482      Cants  queritiir  nimium  no-     Sambucus'  Emb.    Ed. '1599, 

cere.  p.  172. 

483     Feriunt     summos    fnlmina     Whitney's  Emb.    Ed.    1586, 

monies.  p.  140. 

Barrel  full  of  Holes    .     332     Hac  iliac  perfiuo          .         .      Paradin's    Dev.    Her.     Ed. 

1562,  f.  88. 
331     Frustra      ....      Whitney's  Emb.    Ed.    1586, 

p.  12. 

Bear  and  Ragged  Staff    236 Whitney's  Emb.   Ed.    1586, 

Frontispiece. 

Bear,  Cub,  and  Cupid    348     Perpolet  inciiltum  paulatim      Tronus    Cupid.     Ed.    about 

temptis  amorem.  i$9&>  ^  2- 


APPENDIX  II.]  MOTTOES,    AND    SOURCES. 


5*7 


DEVICE.  PAGE.  MOTTO. 

Bear,  Cub,  and  Cupid  349  .... 

Bees  types  of  a  well-    358  Tlcas  \aov  ireiOrjviov 
governed  People. 

360  Principis  dementia 


SOURCE. 

Boissard's  Emb.  43,  Ed.  1596. 
Horapollo,  Ed.  1551,  p.  87. 


Alciat,  Emb.  148,  Ed.  1551, 

p.  161. 
Whitney's   Emb.  Ed.    1586, 

p.  200. 


Bees  types  of  Love  for    361     Patria  cuiqiie  chara     . 

our  Native  Land. 

Bellerophon  and  Chi-    299     Consilio  et  virtute  Chimcuram     Alciat,  Emb.  14,  Ed.  1581. 
msera.  superare,  id  est,  fortiores 

et  deceptores. 

Bible     of    the     Poor.      46     Ecce  virgo  concipiet  et  pariet     Humphrey's  Fac-simile  from 

PL  VI.  filium,  &c.  PL  2,  Block-book,  1410-20. 

Bird     caught     by     an    130     Speravi  et perii  .         .         .     Cullum's  Hawsted,  Ed.  1813. 

Oyster  (see  Mouse). 
*Bird     in     Cage    and    124     II  mal  me  preme  et  me  spa-     Drummond's   Scotland,    Ed. 

Hawk.  venta  a  Peggio.  1665. 

Block  Book,  specimens.     46     Ecce  virgo  concipiel  et  pariet     Humphrey's  Fac-simile  from 
PL      VI.  filium,  &>c.  PL  2,  Block-book,  1410-20. 

PL    VII.       .         .      49     C onver si  ab  idolis,  &>c.         .      Tracings    photo-lithed    from 

Hist.    S.    Joan.    Euang. 
About  1430. 

PL  VIII.       .         .      49     Data    sunt    muliebri    duce     Tracings    photo-lithed    from 

Hist.    S.    Joan.    Euang. 
About  1430. 

Archaologia,      vol.      xxxv., 
1853,  p.  167,  a  print  from 
original  in  Brit.  Museum. 
Aneau's    Picta    Poesis,    Ed. 

1552,  p.  18. 
.     Whitney's  Emb.   Ed.    1586, 

p.  141. 
Brutus,  Death  of         .     202     Foriuna  virtutem  superans  .      Alciat,  Emb.  119,  Ed.  1581, 

p.  430. 
202  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  70. 
Butterfly  and  Candle  .     151      Cost  vino  placer  conduce  a     Paradin's    Dev.    Her.     Ed. 

morte.  1562. 

152     La  guerre  doulce  aux  inex-     Corrozet's     Hecatomg.     Ed. 

perimentez.  1 5  4°- 

152     Brevis  et  damnosa  voluptas  .      Camerarius,  Ed.  1596. 
152  ,,  ,,  Vaenius'  Emb.   of  Love,  Ed. 

1608,  p.  102. 

152  Breue  gioia         .         .         .      Vsenius'  Emb.  of  Love,  Ed. 

1608,  p.  102. 

153  D'amor  soverchio         .         .      Symeoni's  7/w/m*,  Ed.  1561. 


al(E  aquila, 
Block  Print.     PL  XV.    407     Seven  ages  of  man 

Brasidas  and  his  Shield    195     Perfidvs  familiaris 

195     •    '      • 


*Camel  and  his  Driver.    283     Homo  homini  Deus 


Cousteau's  fygma,  Ed.  1555, 
P-  323- 


518  SUBJECTS    OF   DEVICES,  [APPENDIX  II. 


DEVICE.  PAGE.  MOTTO.  SOURCE. 

*Camomile     trodden  124  Fructus  calcata  dat  amplos  .      Drummond's   Scotland,    Ed. 
down.                                                                                               1665. 

Cannon  bursting          .  344 Beza's  Emb.  8;  Ed.  1580. 

Canoness  (see  Nun)     .  469 

Cebes,  Tablet  of         .  12  Picture  of  Human  Life       .      Ed.    "  Francphordio,"  anno 

1507. 

PI.  I.    .         .         „       13  ,,  ,,  Ed.Berkeli,i670,DeHooghe. 

PI.  1.6 ...      68  „  ,,  Old  Woodcut. 

Chaos         .         .         .    448     21  Caos       ....      Symeoni's   Ovid,   Ed.    1559, 

p.  12. 
XAOS         .         .         .     449     Sine  ivstitia  confvsio    .         .      Aneau's    Picta    Poesis,    Ed. 

1551,  P-  49- 
450  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  122. 

Chess  an  Emblem  of    320     La  fin  nous  faict  tous  egatilx     Perriere's  Th.  Bons  Engins, 
Life.  27  ;  Ed.  1539. 

321  ,,  ,,  Corrozet's/fo:a/<wz£-.Ed.i54O 

Child  and  motley  Fool    484     Fatuis  leuia  commitito.         .      Whitney's  Emb,    Ed.    1586, 

p.  81. 

484  ,,  ,,  Sambucus. 

Chivalry,     Wreath    of    169 

(see  Wreath). 
Christian    Love     pre-      32     ......      Vaenius'  Amoris  Div.  Emb. 

senting  the  Soul  to  Ed.  1615. 

Christ.     PI.  II. 

Circe       transforming    250     Cauendum  a  meretricibus    .      Alciat,  Emb.  76,  Ed.  1581, 
Ulysses'  men.  p.  184. 

250     Homines  voluptatibtis  trans-     Whitney's  Emb.    Ed.   1586, 

formantur.  p.  82. 

252     Improba  Siren  desidia          .      Reusner's   Emb.    Ed.    1581, 

p.  634. 

*Cleopatra      applying    131 Chimneypiece,  Lower  Tabley 

the  Asps.  Hall. 

*Conscience,  Power  of   420     Hie  nmrus  aheneus  esto        .     Emb.  of  Horace,   Ed.   1612, 

pp.  58  and  70. 

Countryman  and  Viper    197     Malejicio  benejicium  compen-     Freitag's    Myth.    Eth.    Ed. 

satum.  1579- 

198  Merces  anguina  .         .         .      Reusner's   Emb.    Ed.    1581, 

p.  81. 

199  In  simi  alere  serpentem        .     Whitney's  Emb.   Ed.    1586, 

p.  189. 
Crab  and  Butterfly      .       15     Festina  lente        .         .         .      Symeoni's  Dev.    Ed.    1561, 

p.  218. 
Creation     and     Con-      35     La  creatione  &  conftisione     Symeoni's   Ovid,   Ed.   1559, 

fusion.     PL  III.  del  mondo.  p.  13. 

Crescent  Moon  .         .127     Donee  totvm  impleat  orbem  .     lovio's  Dial,   des  Dev.   Ed. 

1561,  p.  25. 

123  ,,  ,,  Drummond's   Scotland,    Ed. 

1655. 


APPENDIX  II.]  MOTTOES,    AND    SOURCES.  519 

DEVICE.  PAGE.  MOTTO.  SOURCE. 

*Crossbow      at      full    126  Ingenio  superat  vires  .         .      Gent.  Mag.    Nov.    1811,    p. 

stretch.  416. 

Crowns  of  Victory  (see    221 

Wreaths,  Four). 

*Crowns,    Three,    one    124  Aliamque  moratnr      .         .      Drummond's   Scotland,    Ed. 

on  the  Sea.  1655. 

*Crucifix  and  kneeling    123  Undique     .         .  .      Drummond's   Scotland,    Ed. 

Queen.  1655. 

Cupid   and    Bear   (see    348 
Bear,      Cub,      and 
Cupid). 

Cupid  and  Death        .    401  De  morte  et  amore :  locosum     Whitney's  Emb.   Ed.    1586, 

p.  132. 

401  ,,  ,,  Alciat,  Emb.  Ed.  1581. 

403  De  Morte  et  Cvpidine .         .      Peacham's  Min.    Ed.    1612, 

p.  172. 

Cupid  blinded,    hold-    329 Perriere's  Th.  Bans  Engins, 

ing  a  Sieve.  1539,  p.  77. 

*Cupid  felling  a  Tree .     324  "By  continuance"      .         .      Vsenius,  Ed.  1608,  p.  210. 


Daphne  changed  to  a    296 Aneau's    Picta    Poesis,    Ed. 

Laurel.  1551,  p.  47. 

Dedication  page  v     ......      Alciat's    Emb.     Ed.     1661, 

Title-page. 
Diana         ...         3     Qvodcvnqve  petit,  conseqvitvr     Symeoni's   Ovid,   Ed.    I559> 

p.  2. 

Diligence  and  Idleness    145 Perriere's  Th.  Bons  Engins, 

Ed.  1539,  Emb.  101. 
146     Otiosi  semper  egentes    .         .      Whitney's  Emb.   Ed.    1586, 

P.  175- 

Dog    baying    at     the    270 Beza's     Emb.      Ed.      1580, 

Moon.  Emb.  22. 

269     Inanis  ineptis     .         .         .      Alciat,  Emb.  164,  Ed.  1581, 

P-  571. 

269  ,,  „  Whitney's   Emb.   Ed.    1586, 

p.  213. 

270  Despicit  alta  Cants      .         .      Camerarius,    Ed.     1595,    p. 

63- 
Dolphin  and  Anchor  .       16     Propera  tarde      .         .         •      Symeoni's  Imprese,  Ed.  1574, 

P-  175- 
1 6  ....      Giovio's  Dialogo,  Ed.  1574, 

p.  10. 

D.  O.  M.  .         .         .    464     Domino  Optimo  Maximo     .      Whitney's  Emb.   Ed.    1586, 

Frontispiece. 

*Doves     and     winged    245 Corrozet's     Hecatomg.     Ed. 

Cupid.  1540,  f-  70. 

Drake's  Ship      .         .     413     Attxilio  diuino    .         .  Whitney's  Emb.    Ed.    1586, 

p.  203. 


520  SUBJECTS    OF   DEVICES,  [APPENDIX  II. 


DEVICE.          PAGE.  MOTTO.  SOURCE. 

Eagle     renewing     its    368  Renovata  iwentvs        .         .  Camerarius,    Emb.    34,    Ed. 

Feathers.  1596. 

*Eclipses  of  Sun  and    124  Ipsa  sibi  lumen  qtwd  invidet  Drummond's   Scotland,    Ed. 

Moon.  aufcrt.  1665. 

Elephant    and    under-     196  Nusquam  tufa  fides      .         .  Sambucus'  Emb.   Ed.    1564, 
mined  Tree.  p.  184. 

196  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  150. 

Elm  and  Vine    .         .     307  Amidtia  etiam  post  mortem  Alciat,  Emb.  159,  Ed.  1581, 

durans.  p.  556. 

307  ,,  „  Whitney'&£»z0.Ed.i586,p.62. 

308  ,,                     ,,  Camerarius,  Ed.  1590,  p.  36. 
Envy.         .         .         .    432  Imiidifg  descriptio        .         .  Whitney \Ernb. Ed.  1586^.94. 

431  ,,  „  Alciat,  Emb.  71,  Ed.  1581. 


Falconry    .         .         .     366     Sic  maiora  cedvnt        ..        ..    Giovio's  Sent.  Imprese,  Ed. 

1562,  p.  41. 

Fame    armed    with   3-446     Pennce  gloria  immortalis      .      Whitney's  Emb.    Ed.    1586, 
Pen.  p.  197. 

446  ,,  ,,  Junius,  Ed.  1565. 

Fardel  on  a  Swimmer    480     Auri  sacra  fames  quid  non  ?     Whitney's  Emb.    Ed.    1586, 

P.  179- 
481  •  •        •         •         •         •      Perriere's  Th.  Bans  Engins, 

Ed.  1539,  p.  70. 
February    .         .         .     135     Iddio,  perche  e  uecchio,          .      Spenser's  Works,  Ed.  1616. 

Fa  suoi  al  suo  essempio. 

Fleece,    Golden,    and    229     Diues  indoctus    .         .         .      Alciat,  Emb.  189,  Ed.  1581. 
Phryxus. 

229     In  dmitem  indoctum    .         .      Whitney's  Emb.   Ed.    1586, 

p.  214. 
Fleece,  Golden,  Order    228     Predum  non  vile  laborum    .      Paradin's    Dev.    Her.     Ed. 

of.  1562,  f.  25. 

*Flourishes   of  Arms,     124     Dabit  Deus  his  quoquefinem     Drummond's   Scotland,    Ed. 

&c.  1665. 

*Forehead      measured    129     Fronte  nulla  fides        .         .      Cullum's  Hawsted,  Ed.  1813. 
by  Compasses. 

129  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  100. 
129  ,,  ,,  Sambucus,  Emb.  Ed.   1564, 

p.  177. 
Forehead     shows    the    129     Frons  hominem  pr&fert       .      Symeoni's    Dev.    Her.     Ed. 

Man.  1561,  p.  246. 

Fortune      .         .         .261     L  ''ymage  deforttme      .         .      Corrozet's     Hecatomg.     Ed. 

1540,  Emb.  41. 

Fox  and  Grapes          .    310     Ficta  eius  quod  haberi  nequit     Freitag's    Myth.    Eth.     Ed. 

recusatio.  1579,  P-  127. 

310  Stultitia  sua  seipsum  saginari     Faerni's  Fables,  Ed.  1583. 

311  ,,  ,,  Whitney'  s^V/^.Ed.  1586^.98. 


APPENDIX  II.] 


MOTTOES,    AND    SOURCES. 


521 


DEVICE.  PAGE.  MOTTO.  SOURCE. 

Gem  in  a  Ring  of  Gold    418     Beaulte  compaigne  de  bonte  .      Corrozet's     Hecatomg.     Ed. 

1540,  p.  83. 

Gemini       .         .         .     355      T'ratta  delta  Sphera     .         .      Brucioli,  Ed.  Venice,  1543. 
Gold    on    the   Touch-     175     Sic  spectanda  fides        ,         .      Paradin's    Dev.     Her.     Ed. 
stone.  1562,  f.  100. 

178  „  ,,  Whitney's  Emb.    Ed.    1586, 

P-  139- 
177     Pecunia    sanguis   et  anima     Crispin  de  Passe,  about  1589. 

mortalium. 
Good  out  of  Evil         .    447     Ex  malo  bonum  .         .      Montenay,  Ed.  1574. 


Halcyon      days      (see 

King-fisher). 
Hands  of  Providence. 

PL  XVI. 
Hares    biting  a   dead 

Lion. 


Harpocrates    guarding 
his  Mouth. 

Hawk  on  Mummy-case 

Hen   eating   her  own 
Eggs. 


Hives     of     Bees     (see 

Bees). 
Hope  and  Nemesis     . 

Hydra  slain   by   Her- 
cules. 


391 
489 
305 

305 
306 
208 

209 
26 

411 
411 

358, 
&c. 
182 

374 


Dominiis  patiperem  facit,  et 

dilat. 
C^lm  lands  non  luctandum . 


Silent  inn  i   . 

The  Goddess  Ageniora 
Uus  8rj\ov<n 


Qua  ante  pedes   . 


Illicitum  non  sperandum 
Multiplication  de  proces 


Coornhert,  Ed.  1585,  p.  6. 

Whitney's  Emb.   Ed.    1586, 

p.  127. 

Alciat,  Emb.  153,  Ed.  1581. 
Reusner's  Emb.  Ed.  1581. 
Whitney's  Emb.   Ed.    1586, 

p.  61. 

Pegrna,  Ed.  1555,  p.  109. 
Cory's  Horapollo,  Ed.  1840, 

P-  15- 
Whitney's  Emb.  Ed.  1586, 

p.  64. 
Sambucus,  Emb.  Ed.  1564, 

p.  30. 


Whitney's  Emb.    Ed.    1586, 

P-  139- 

Corrozet's     Hecatomg.     Ed. 
1540. 


Icarus  and  his  ill  For-    288     In  astrologos 
tune. 

288 

289     Faire  tout  par  moyen  . 
Idiot-Fool,  and  Death    472     . 

^Introductory       Lines    464     . 

(see  I).  O.  M.). 
Inverted  Torch  .         .     171      Qvi  me  alit  me  extingvit 


.      Alciat,  Emb.  103,  Ed.  1581. 

Whitney's  Emb.    Ed.    1586, 

p.  28. 
Corrozet's     Hecatomg.     Ed. 

1540,  Emb.  67. 
.      Holbein's      Imag.      Mortis, 

Lyons,  1547. 
.      Whitney. 

Symedni's     Sent.      Imprcse, 
I56l>  P-  35- 


522  SUBJECTS    OF  DEVICES,  [APPENDIX  II. 

DEVICE.  PAGE.  MOTTO.  SOURCE. 

Inverted  Torch  .         .     173      Qvi  me  alit  me  extingvit      .      Paradin's     Dev.     Her.     Ed. 

1562,  f.  169. 

173  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  183. 


^Jackdaw  in  Peacock's    313  Qvod  sis  esse  veils         .         .  Camerarius,  Ed.  1596,  Emb. 

Feathers.  81. 

Janus,   Double-headed    139  Prudentes  ....  Alciat,  Ed.  1581,  p.  92. 

139  Respice,  et prospice       .         .  Whitney's  Emb.    Ed.    1586, 

p.  108. 

140 Perriere's  Th.  Bons  Engins, 

Ed.  1539. 

John,      St.       (Apoca-      49 Block-book,  about  1430. 

Ivpse).     PI.  VIII. 

John,    St.,   the   Evan-      49 Block-book,  about  1430. 

gelist,   History   of. 
PI.  VII. 

June  .         .         .         .     136  .         .         .         .         .         .  Spenser's  Works,  Ed.  1616. 


King-fisher,     Emblem    392     Novs  scavons  Men  le  temps   .      Giovio's  Sent.  Imprese,  Ed. 
of  Tranquillity.  1561,  p.  107. 

125     Alediis  tranquillus  in  tmdis.      Drummond's   Scotland.    Ed. 

1665. 


Lamp  burning    .         .     456     Quo  modo  vitam .         .         .  Horapollo,     Ed.     1551,     p. 

220. 

Laurel,  Safety  against    422      Conscientia  Integra,  laurus  .  Sambucus,  Emb.   Ed.   1564, 

Thunderbolts.  p.  14. 

423     Mtirus  ccneus,  sana  conscien-  Whitney's  Emb.    Ed.    1586, 

tia.  p.  67. 

423     ......  Camerarius,  Ed.  1590,  p.  35. 

*Leafless    Trees     and    128     Jam  satis   ....  Paradin's    Dev.    Her.     Ed. 

Rainbow.  1562,  f.  38. 

128 Cullum's  ffazvsteJ,  Ed.  1813. 

*Lion  and  Whelp        .     124     Unum  quidem,  sed  leonem    .  Drummond's   Scotland,    Ed. 

1665. 

*Lion   in   a  Net,   and    124     Et  lepores  devicto  insnltant  Drummond's   Scotland,    Ed. 

Hares.                                          hone.  1665. 
Loadstone  (see  Astro-    335 

nomer). 

*Loadstone       towards    123     Maria  Stuart,  sa  virtu  ui1  at-  Drummond's   Scotland,    Ed. 

the  Pole.                                      tire.  1665. 

*Lotterie   in    London,    208      Video,  et  taceo     .         .         .  Whitney's  Emb.    Ed.    1586, 

1568.  p.  62. 

*Lucrece    .         .         .131.         .         .         .         .         .  Lower    Tabley     Old     Hall, 

1619. 


APPENDIX  II.]  MOTTOES,    AND    SOURCES.  523 

DEVICE.  PAGE.  MOTTO.  SOURCE. 

Macaber,  Dance  of  (see      39     .         .         .         .         .  .       .      MS.  of  the  I4th  century. 

Brunei's     Manuel, 

vol.  v.  c.  1559-60). 
*Man    measuring    his    129     Fro > tie  nulla  fides        .         .      Cullum's/fomr/^,  Ed.  1813. 

Forehead. 
Man  swimming  with  a    480 

Burden  (see  Fardel 

on  a  Swimmer). 
Map      of     inhabited    351     Partitim  rrjs  ot/coi^eVrjs  sym-     Samhucus'  Emb.   Ed.    1564, 

World.  bola.  p.  113. 

Medeia  and  the  Swal-    189     Ei  qui  semel  sua  prodegerit,     Alciat,  Emb.  54,  Ed.  1581. 

lows.  aliena  credi  non  oportere. 

190  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

P-  33- 

Mercury  and  Fortune.     255     Ars  Naturam  adiuuans       .      Alciat,   Emb.    Ed.    1551,   p. 

107. 
Mercury        charming     123     Eloquium  tot  luinine  clausit.      Drummond's   Scotland,    Ed. 

Argus.  1665. 

Mercury    mending     a    256     Industria  naturam  corrigit .      Sambucus'  Emb.   Ed.  1564, 
Lute.  p.  57- 

256  „  „  Whitney's  Emb.    Ed.    1586, 

p.  92. 
Michael,  St.,  Order  of    227     Immensi  tremor  Oceani       .      Paradin's     Dev.     Her.     Ed. 

1562,  p.  12. 
*Milo  caught  in  a  Tree    344     Qvibvs  rebvs  confidimvs,  Us     Le  Bey  de  Batilly,  Ed.  1596, 

max  hue  evertimvs.  Emb.  18. 

Moth  and  Candle  (see    151 

Butterfly). 

Motley  Fool  (see  Child).  484 

Mouse   caught    by   an    130     Captinus  ob  gulatn       .         .      Alciat,  Emb.  94,  Ed.  Paris, 
Oyster.  1602,  p.  437. 

130  ,,  ,,  Whitney's  Emb.   Ed.   1586, 

p.  128. 
130     .         .         .         .         .         .      Freitag's    Myth.    Eth.    Ed. 

1579,  P-  169. 

Narcissus  viewing  him-    294     4>i\avrla     ....      Alciat,  Emb.  69,   Ed.  1581, 
self.  p.  261. 

295     Amor  sui  ....      Whitney's  Emb.    Ed.    1586, 

p.  149. 
295      Contemn  ens     alios,      arsit     Aneau's    Picta    Poesis,    Ed. 

amor e  sui.  1S52>  P-  4& 

Nemesis  and  Hope  (see    182 

Hope). 
Niobe's  Children  slain    292     Superbia     ....      Alciat,  Emb.  67,   Ed.  1581, 

P.  255- 

293     Superbice  vllio     .         .  Whitney's  Emb.    Ed.    1586, 

P-  13- 


524 


SUBJECTS    OF  DEVICES, 


[APPENDIX  II. 


DEVICE.  PAGE. 

Nun  or  Canoness         .     469     . 


MOTTO.  SOURCE. 

Holbein's  SinmlacJira, 
Sign,  liiij.   1538. 


Oak     and     Reed,    or    315 
Osier. 


Occasion.     PL  XII.  .    265 

Occasion,    or    Oppor-    259 
tunity. 

260 

258 
261 

Olive    and    Vine    (see    249 
Vine). 

Order,  &c.  (see  Fleece,    228 
Golden,    and    Mi- 
chael,   St.,    Order    227 
of). 

Orpheus  and  Harp      .    271 

272 

272 

Ostrich  eating  Iron     .     233 

234 
126 

Ostrich  with  outspread    370 
Wings. 

370 


Vincit  qui  patilur 

EJ£as  vina,  or  victrix  animi 

eqtiitas. 
Dtim  Tempus  labitiir,  Occa- 

sionem  fronte  capillatam 

remorantur. 
In  occasionem. 


image  cT  occasion 


La  force  d"1  eloquence 
Music ce,  et  poetic  &  vis  . 
Orphei  musica 
Spiritus  durissima  coquit 


Nil  penna,  sed  usus 


Whitney's  Emb.    Ed.    1586, 

p.  220. 
Junius'  Emb.  Ed.  1565. 

David's   Occasio,   Ed.    1605, 
p.  117. 

Alciat,   Emb.    Ed.    1551,  p. 

133- 

Whitney's  Emb.   Ed.    1586, 

p.  181. 
Perriere's  Th.  Bons  Engins, 

Ed.  1539. 
Corrozet's     Hecatomg.     Ed. 

1540,  p.  84. 


Cousteau's  Pegme,  Ed.  1560, 

P-  389- 
Reusner's  Emb.  Ed.  1581, 

p.  129. 
Whitney's  Emb.  Ed.  1586, 

p.  1 86. 
Giovio's  Sent.  Imprese^  Ed. 

1561,  p.  115. 
Camerarius,  Emb.  Ed.  1595, 

p.  19. 
Gent.   Mag.   Nov.    1811,   p. 

416. 
Paradin's    Dev.    Her.     Ed. 

1562,  f.  23. 
Whitney's  Emb.    Ed.    1586, 

P-  51- 


Palm  Tree          .         .124     Ponderibus     virtus     innata     Drummond's   Scotland,    Ed. 

resist  it.  1665. 

Pegasus      .         .         .141      At-s   rhetor,    triplex    movet,     Bocchius,    Symb.    137,    Ed. 

<&•*•  1555,  P-  3H- 

143     No 1 1  absque  Theseo       .         .      Reusner's   Emb.    Ed.    1581, 

p.  I. 


APPENDIX  II.]  MOTTOES,    AND    SOURCES.  525 

DEVICE.  PAGE.  MOTTO.  SOURCE. 

Pegasus    (see    Bellero-    299 

phon). 
Pelican  and  Young      .     393     IIEPI  TH2  IIEAEKANO2     .      Epiphanius,    S.,    Ed.    1588, 

p.  30. 
394     Pro  lege  et  grege .         .         .      Reusner's  Emb.    Ed.    1581, 

P-  73- 

394  ,,  ,,  Camerarius,  Ed.  1596,  p.  87. 

395  Quod  in  te  est,  prome  .         .     Junius'  Emb.  7,  Ed.  1565. 
395  „  „  Whitney's  Emb.    Ed.    1586, 

p.  87. 

Phaeton  and  the  Sun's    285     In  temerarios      .         .         .      Alciat,  Emb.  56,  Ed.  1551. 
Chariot. 

284     Phaethontis  casvs         .         .      Plantinian   Ovid,    Ed.    1591, 

pp.  46-9. 
281     Fetonte  fidminato  da  Gioue  .      Symeoni's    Ovid,   Ed.    1559, 

P-  34- 

Phoenix,     Emblem    of    381     Jmienilia  studia  cum  prouec-     Freitag's    Myth.    Eth.    Ed. 
New  Birth,  &c.  tiori  estate  permutata.  I579>  P-  249- 

123  En   ma  Jin  git  mon  com-     Drummond's   Scotland,    Ed. 

mencement.  1665. 

Phoenix,    Emblem    of      23     Utas    i//t>xV    fvravOa    iro\vv     Horapollo,  Ed.  1551,  p.  52. 

Duration.  xp^vov  Siafiefiova-av. 

Phoenix,    Emblem    of    234     SolafactasolumDeumsequor     Paradin's    Dev.    Her.     Ed. 
Loneliness.  1562,  f.  165. 

235     Solafacta  solvm  Devm  seqvor     Giovio's  Sent.  Imprese,  Ed. 

1561. 

Phoenix,    Emblem    of    385      Vnica  semper  aids       .         .      Paradin's    Dev.    Her.     Ed. 
Oneliness.  1562,  f.  53. 

385  ,,  ,,  Reusner's   Emb.    Ed.    1581, 

p.  98. 
387  ,,  ,,  Whitney's  Emb.   Ed.    1586, 

p.  177. 
Phoenix      with      two    384     Eadem  inter se.     Sunleadem     Hawkin's   IIAP0ENO2,   Ed. 

Hearts.  vni  tertia.  l&33- 

Phryxus    (see    Fleece,    229 

Golden). 

*  Pilgrim  travelling      .     128     Dum  transit,  time       .         .      Cullum's  Zfozwta/,  Ed.  1813. 
Pine-trees  in  a  Storm.    476     Nimium  rebus  ne  fide  seam-     Whitney's  Emb.   Ed.    1586, 

dis.  P-  59- 

475  ,,  ,,  Sambucus'  Emb.  Ed.   1569 

p.  279. 
Poets,  Insignia  of  (see    218 

Swan). 

Porcupine.         .         .231      Cominvs  et  eminvs       .         .      Giovio's  Sent.  Imprese,  Ed. 

1561,  p.  56. 

124  Ne  volutetur        .         .         .      Drummond's  Scotland,    Ed. 

1665. 

*Portcullis.         .         .124     Altera  securitas  .         .         .      Drummond's   Scotland,    Ed. 

1665. 


526 


SUBJECTS    OF  DEVICES, 


[APPENDIX  II. 


DEVICE.  PAGE.  MOTTO.  SOURCE. 

Progne,  or  Procne       .     193     Tmpotentis  Vindicta  Fcemina     Aneau's    Picta    Poesis,    Ed. 

1552,  p.  73- 
Prometheus  chained    .     266     Qua    supra    nos,    nihil   ad    Alciat,  Emb.  102,  Ed.  1551. 

nos. 
267     Cvriositas  Fvgienda 


267  .... 

268  O  vita,  misero  longa 

268 

Providence  and  Girdle    413 

(see  Drake's  Ship). 
^Pyramid  and  Ivy       .     124     Te  stante  virebo  . 


Aneau's    Picta    Poesis,    Ed. 

1552,  p.  90. 

Microcosme,  Ed.  1579,  p.  5. 
Reusner's   Emb.    Ed.    1581, 

P-  37- 
Whitney's  Emb.   Ed.    1586, 

P-  75- 


Drummond's   Scotland,    Ed. 

1665. 
Various  Authors. 


Quivers  of  Cupid  and    401 
Death    (see    Cupid 
and  Death). 


*Rock  in  Waves          .     125     Rompe  ctiil  percote      .         .      Drummond's   Scotland,    Ed. 

1665. 
Rose  and  Thorn          .     333     Post  amara  dulcia       .         .      Whitney's  Emb.    Ed.    1586, 

p.  165. 

332  ,,  ,,  Perriere's  Th.  Bans  Engiiis, 

Ed.  1539,  Emb.  30. 

333  Armat    spina    rosas,    mella     Otho  Vsenius,  Ed.  1608,  p. 

tegunt  apes.  160. 

Ruins  and  Writings    .    443     Scripta  manent  .         .         .      Whitney's  Emb.    Ed.    1586, 

p.  131. 

442 Costalius'  Pegma,  Ed.  1555, 

p.  178. 


Salamander         .         .     126     Nvtrisco  et  extingvo 

123 

Satan,  Fall  of.  PI.  XI.     133     Lapsvs  Satance   . 


Jovio's  Dialogue,  Ed.    1561, 

p.  24. 
Drummond's  Scotland,  Ed. 

1665. 
Boissard's  Theatrum,  Ed. 

1596,  p.  19. 


Sepulchre    and    Cross  183 

(see  Arrow  wreath-      & 

ed).  126 

Serpent  and  Country-  197     Maleficio  beneficium  compen-     Freitag's    Myth.    Eth.    Ed. 

man  (see  Country-  satum.  !579>  P-  177- 

man). 


APPENDIX  II.]  MOTTOES,    AND    SOURCES.  527 

DEVICE.  PAGE.  MOTTO.  SOURCE. 

*Serpent  and  Country-     198  Merces  anguina  .         .         .  Reusner's   Emb.    Ed.    1581, 

man.  p.  81. 

*Serpent  in  the  Bosom    199  In  sinu  alere  serpentem         .  Whitney's  Emb.   Ed.   1586, 

p.  189. 

Seven  Ages   of   Man.    407  Rota  vitce  qu<z  septima  no-  Archceologia,  vol.  xxxv.  1853, 

PL  XV.  tatur.  p.  167. 

^Shadows     Fled     and    468  Mulier  vmbra  viri       .         .  Whitney's  Emb.    Ed.    1586, 

Pursued.  p.  218. 

Shield,  Untrustworthy    195 

(see    Brasidas    and 

his  Shield). 

Ship  on  the  Sea.         .     125  Durate       ....  Drummond's   Scotland,    Ed. 

1665. 

Ship     tossed    by    the    435  Res  htimante  in  summo  dc-  Sambucus'  Emb.  Ed.   1564, 

Waves.  clinans.  p.  46. 

435  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  n. 

Ship  sailing  forward    .    436     Constantia  comes  victoria     .      Whitney's  Emb.   Ed.    1586, 

P-  137- 

436  ,,  ,,  Alciat,  Emb.  43,  Ed.  1581. 
*Ship  with  Mast  over-    124     Nusquam  nisi  rectum  .         .      Drummond's   Scotland.    Ed. 

board.  1665. 

Sieve  held   by   Cupid    329 

(see  Cupid). 
Sirens  and  Ulysses      .     253     Sirenes       ....      Alciat,  Emb.  Ed.  1551. 

254  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  10. 
Skull,  human     .         .    337     Ex  Maximo  Minimum        .      Aneau's    Picta    Poesis,    Ed. 

I552.  P-  55- 
338  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  229. 

Snake  fastened  on  the    342     Quis  contra  nos  ?         .         .      Paradin's    Dev.     Her.     Ed. 
Finger.  1562,  f.  112. 

342     Si  Deus  nobiscum,  qnis  con-     Whitney's  Emb.  Ed.    1586, 

tra  nos?  p.  166. 

126     Quis  contra  nos  ?         .         .      Gent.  Mag.  Nov.  181 1,  p.  416. 
Snake  in  the  Grass      .    340     Latet  anguis  in  hei'ba  .         .      Paradin's    Dev.    Her.     Ed. 

1562,  f.  41. 
340  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  24. 

Speculum, — Photoliths      44     Speculum    humane?    salva-     An  exact  MS.   copy  in  the 
in  small  size.     PL  tionis.  collection    of    H.    Yates 

IV.  and  V.  Thompson,  Esq. 

Stag  wounded    .         .    398     Esto  tiene  sv  remedio  y  non     Giovio  and  Symeoni's  Sent. 

y0f  Imprese,  Ed.  1561. 

398  Esto  tiennc  su  remedio,  y  non     Paradin's    Dev.    Her.     Ed. 

y0f  1562,    f.     1 68. 

399  Vvlnvs,  salvs  et  vmbra         .      Camerarius,  Ed.  1595,  Emb. 

69,  p.  71. 


528  SUBJECTS    OF  DEVICES,  [APPENDIX  II. 

DEVICE.  PAGE.  MOTTO.  SOURCE. 

Star,  Hieroglyphic      .       25     Tf  aarepa  ypatyovres  SrjAouorj.      Leeman's     Horapollo,     Ed. 

1835,  Fig.  31. 

25  ,,  ,,  Cory's  Horapollo,  Ed.  1840, 

p.  30. 

Storks,     their    Purity      28 Epiphanius,  S.,  Ed.  1588,  p. 

and  Love.  106. 

Student   entangled    in    441     In  studiosum  captum  anwre.      Whitney's  Emb.    Ed.    1586, 
Love.  p.  135- 

441  ,,  ,,  Alciat,  Emb.  108,  Ed.  1581. 

Sun  and  Moon  .         •       52     -De  so^e  £t  luna    .         .         .      Dyal.      Great.     Lyons     Ed. 

1511. 
*Sun  in  Eclipse  .         .     124     Medio  occidet  die          .         .      Drummond's   Scotland,    Ed. 

1665. 
Sun  Setting        .         .     323     Tempus  omnia  terminal       .      Whitney's  Emb.    Ed.    1586, 

p.  230. 

Sun,  Wind,  and  Tra-    165     Plus  par  doulceur  que  par     Corrozet's     Hecatomg.     Ed. 
veller.  force.  IS4°>  Emb.  28. 

1 66     Moderata  vis  impotenti  vio-     Freitag's    Myth.    Eth.    Ed. 

hntia  potior.  I579>  P-  27- 

Swan,      Insignia      of    218     Insignia  poetarum       .         .      Alciat,   Emb.    Ed.    1551,  p. 
Poets.  197. 

217  ,,  ,,  Whitney's  Emb.    Ed.    1586, 

p.  126. 
Swan   (Old   Age   elo-    215     Facvnda  senectvs          .         .      Aneau's    Picta    Poesis,    Ed. 

quent).  1552,  p.  28. 

Swan  (Pure  Truth)     .     216     Simplicitas  veri  sana  .         .      Reusner's   Emb.    Ed.    1581, 

p.  91. 
217     Sibi  canit  et  orbi  .         .      Camerarius,  Ed.  1 595*  Emb. 

23- 
Swan  singing  at  Death    213     IlcDs  yepovra  IHQVGIKOV  .          .      Horapollo,     Ed.     1551,     p. 

136. 
Sword   broken   on  an    326     ......      Perriere's  Th.  Bans  Engins, 

Anvil.  Ed.  1539,  p.  31. 

327     Importtmitas  euitanda          .      Whitney's  Emb.    Ed.    1586, 

p.  192. 
*S  word  to  weigh  Gold    124     Quid  nisi  victis  dolor  .         .      Drummond's   Scotland,    Ed. 

1665. 

Sword  with  a  Motto  .     138     Si  Fortune  me  tourmcnte      .      Douce's  Ilhistr.vo\.  i.  p.  452. 
I?  Esperance  me  contente. 


Testing   of    Gold   (see    173 
Gold    on    Touch- 
stone). 

Theatre     of     Human    405      Theatrum  omnium    mi  sera-     Boissard's  Theatrnm,  1596. 
Life.     PI.  XIV.  rinm. 

Things    at    our    Feet    411 
(see  Hen  eating  her 
Eggs)- 


APPENDIX  II.]  MOTTOES,    AND    SOURCES. 


529 


DEVICE.  PAGE.  MOTTO.  SOURCE. 

Thread  of  Life    .         .    454     Quo  paclo  mortem  seu  homi-     Horapollo,     Ed.     1551,     p. 

nis  exitum.  219. 

Time  flying,  &c.  .     466      Qua  sequimur  fiigitmis,  nos-     Sambucus,  Ed.  1564. 

quefitg'mnt. 

467 Whitney's  Emb.    Ed.    1586, 

p.  199. 
Vaenius,     Emb.     Hor.     Ed. 


Time  leading  the  Sea-  491  Tempus  irrevocabile 
sons,  and  of  Eter- 
nity a  Symbol.  PI. 
XVII. 

Timon         .          .          .     427     Miffdvdpoiros  Ti^cav 

Title-page,      Photolith      57     Navis  stultoruni 
fac-simile.     PL  IX. 

*Tongue     with     Bats'     128     Qtib  tendis  ? 
Wings. 

128 

Torch     (see     Inverted    171 

Torch). 
Tree  of  Life  (see  Arrow    1 83 

wreathed). 
*Tree     planted     in    a    124     Pletas  revocabit  ob  orco 

Churchyard. 
*Triangle,  Sun,  Circle    124     Trino  non  convenit  orbis 

*Trophy  on  a  Tree,  &c.     124      Ut  casits  dederet . 
Turkey  and  Cock        .     357     Jtis  hospitalitatis  violatum 
357     Rdbie  svccensa  tvmescit 


1612,  p.  206. 


Sambucus,  Ed.  1564. 
Brant's  and  Locher's  Navis 

stultifera,  Ed.  1497. 
Cullum's  Hawsted,  Ed.  1813. 

Paradin's    Dei;    Her.     Ed. 
1562,  f.  65. 


Drummond's   Scotland,    Ed. 

1665. 
Drummond's   Scotland,    Ed. 

1665. 
Drummond's   Scotland,    Ed. 

1665. 
Freitag's    Myth.    Eth.     Ed. 

1579,  P-  237. 
Camerarius,  Ed.  1596,  Emb. 

47- 


U nicorn ,  Type  of  Faith    371  Victrix  casta  fides 
undefiled. 

372  Nil  inexplorato  . 

372  Hoc  virtntis  amor 

372  Pretiosum  qnod  ntile    . 


.      Reusner's   Emb.    Ed.    1581, 

p.  60. 
Camerarius,  Ed.  1595,  Emb. 

12. 
Camerarius,  Ed.  1595,  Emb. 

13- 
Camerarius,  Ed.  1595,  Emb. 

14,  pp.  14 — 1 6. 


*Venus  dispensing  Cu-    328     Amoris  ivsivrandvm  pcenam     Van  Veen's  Emb.   of  Love, 

pid  from  his  Oaths.  non  habet.  p.  140. 

Vine  and  Olive  .         .     249     Pntdentes  vino  abstinent      .      Whitney's  Emb.   Ed.    1586, 

P-  *33- 

249  ,,  ,,  Alciat,   Emb.  24,   Ed.  1602, 

p.  164. 

3  Y 


53° 


SUBJECTS    OF  DEVICES. 


[APPENDIX  II. 


DEVICE.  PAGE.  MOTTO. 

^Vine    watered     with    124     Mea  sic  mihi  prosttnt  . 
Wine. 


SOURCE. 

Drummond's   Scotland,    Ed. 
1665. 


*Waves  and  Siren       .  125 

*  Waves,  with  Sun  over  125 

Wheat  among  Bones  .  184 

184 

Wheel  rolling  into  the  124 

Sea. 

Wings    and    Feathers  124 

scattered 

World, Three-cornered  351 

(see  Map,  &c. ). 

Wreath  of  Chivalry     .  169 


Drummond's   Scotland,    Ed. 

1665. 
Drummond's   Scotland,    Ed. 

1665. 

Camerarius,  Ed.  1595'  P-  IO2< 
,,  „  Paradin'sZ>^.^r.Ed.  1562. 

Piena     di    dolor     voda     de     Drummond's   Scotland,    Ed. 

Sperenza.  1665. 

Magnatum  vicinitas    .         .      Drummond's   Scotland,    Ed. 

1665. 


Bella  Maria 

Nunquam  siccabitur  astu 

Spes  altera  vita  . 


Wreath  of  Oak  . 


224 


Wreaths,    Four    on   a    221 
Spear. 

222 

Wrongs   engraved    on    457 
Marble. 

458 

460 


Me  pomp<z  prouexit  apex 
Sernati  gratia  etuis 
Fortiter  et  f elicit er 
His  ornari  avt  mori    . 
Scribit  in  marmore  Icesns 


Paradin's    Dev.    Her.     Ed. 

1562,  f.  146. 
Paradin's    Dev.     Her.     Ed. 

1562,  f.   147. 
Whitney's  Emb.    Ed.    1586, 

p.  115. 
Camerarius,  Ed.  I59°>  Emb. 

99- 

Giovio  and  Symeoni's  Sent. 

Imprest,  Ed.  1562,  p.  24. 
Paradin's    Dev.    Her.     Ed. 

1562,  f.  1 60. 
Whitney's  Emb.    Ed.    1586, 

P-  183- 


Zodiac,   signs  of.      PL     353      Trattato  della  sphera  . 
XIII. 


Brucioli,  Ed.  Venetia,  1543, 
Title. 


Dai' id,  ed.  1601. 


III. 


EFERENCES  TO  PASSAGES  FROM  SHAKESPEARE, 
IN  THE  ORDER  OF  THE  PLAYS  AND  POEMS 
OF  MACMILLAN'S  EDITION,  1866,  AND  TO  THE 
CORRESPONDING  DEVICES  AND  SUBJECTS  OF 
THE  EMBLEMS  TREATED  OF  IN  THIS  WORK. 

N.B.    The  subjects  printed  in  italics  have  no  corresponding  device. 

THE    TEMPEST. 

VOL.    PAGE.  ACT.     SC.   LINE.  DEVICE   OR   SUBJECT.  PAGES. 

I.        20  I.  2  387  Appreciation  of  music     .         .         .         .          .          .116 

36  n.  2  7  Ape  and  miser's  gold      ......     488 

48  in.  2  135  Hands  of  Providence.     Plate  XVI.         .         .         .     489 

50  in.  3  21  Unicorn 373 

50  in.  3  21  Phoenix 373,  385 

50  in.  3  22  Phoenix,  type  of  oneliness       ....     234,  236 

53  in.  3  95  Laurel,  type  of  conscience      ....     422,  424 

54  iv.  i  i  Thread  of  life 454,  455 

57  iv.  i  no  Diligence  and  idleness   .....      145,   146 

64  v.  i  21  rarer  action  in  virtue      ......     462 

THE    TWO    GENTLEMEN    OF    VERONA. 

I       112  ii.  6  24  a  swarthy  Ethiope •  162 

I2i  in.  I  153  Phaeton 285,  286 

129  ill.  2  68  Orpheus  and  harp 273,   274 

135  iv.  2  38  Gem  in  ring  of  gold        .....  418,  419 

143  iv.  4  87  The  Fox  and  Grapes 3IO>   312 

THE    MERRY    WIVES    OF    WINDSOR. 

I.      177  i.  3  64  East  and  West  Indies 351.  352 

186  ii.  i  106  Actseon  and  hounds 275,  276 

I9o  ii.  2  5  Gemini,— Zodiac.     Plate  XIII.      .         .         .  353,  355 

196  ii.  2  187  Shadows  fled  and  followed     ....  466,  468 


532 


REFERENCES  IN  SHAKESPEARE   [APPENDIX  III. 


PACK. 

ACT. 

sc. 

LINE. 

296 

I. 

I 

28 

303 

I. 

2 

I58 

324 

II. 

2 

149 

327 

II. 

4 

I 

334 

III. 

I 

6 

334 

III. 

I 

17 

340 

III. 

I 

175 

MEASURE  FOR  MEASURE. 

DEVICE   OR    SUBJECT.  PAGES. 

Hen  eating  her  own  eggs        .          .          .          .411,  412 

Zodiac,  signs  of.     Plate  XIII.        .         .         .     353,  354 

Gold  on  the  touchstone           .         .         .         .175,  180 

Student  entangled  in  love       .....  441 

Idiot-fool,  and  death,  Holbein's  Simulachres  .         .  472 

Sleep  and  death,  Holbein's  Simulachres          .     469,  470 

Gem  in  ring  of  gold        .....     417,  4*8 


THE    COMEDY    OF    ERRORS. 

1  97  Eagle  renewing  its  feathers     . 

2  167  Elm  and  vine 

2  27  Sirens  and  Ulysses 

2  131  America         .... 

2  53  Time  turning  back 

455       v.        i  210  Circe  transforming  men 


•  369 
307,  309 
253,  254 
35i,  352 

•  473 
.  252 


MUCH    ADO    ABOUT    NOTHING. 


II.         22 

ii. 

I     214 

Withered  branch    ..... 

69 

v. 

i          4 

Water  through  a  sieve     .... 

75 

V. 

i       170 

Adam  hiding          ..... 

LOVE'S    LABOUR'S    LOST. 

II.      97 

i. 

i           i 

Ruins  and  writings         .... 

97 

i. 

i           4 

Time  leading  the  Seasons.     Plate  XVII. 

114 

11. 

i         56 

Bear,  cub,  and  Cupid    .... 

138 

IV. 

2         IOO 

Oak  and  reed,  or  osier  .... 

144 

IV. 

3        97 

Rose  and  thorn      ..... 

144 

IV. 

3       "i 

Juno  but  an  Ethiope  were 

I51 

IV. 

3      308 

Bacchus         ...... 

MIDSUMMER    NIGHT'S    DREAM. 

II.     204 

I. 

168 

arrow  with  a  golden  head 

205 

I. 

1  80 

Astronomer  and  magnet 

206 

I. 

232 

Bear,  cub,  and  Cupid    .... 

215 

II. 

148 

Appreciation  of  melody    .... 

216 

II. 

155 

Cupid  and  Death  ..... 

216 

II. 

173 

Drake's  ship           ..... 

216 

II. 

181 

Ape  and  miser's  gold     .... 

217 

II. 

194 

Astronomer  and  magnet 

2I8 

II. 

i       227 

Daphne  changed  to  a  laurel    . 

218 

II. 

i       231 

Gelding's  Ovid  used       .... 

225 

II. 

2         145 

Countryman  and  serpent 

239 

III. 

2         2OO 

Coats  in  heraldry  ..... 

240 

III. 

2         237 

Ape  and  miser's  gold     .... 

24! 

III. 

2         260 

Snake  on  the  finger        .... 

.  18! 

329,  33i 
415,  416 


443,  444 

.  491 

349,  350 

315,  3i6 

333,  334 

.  162 

247,  249 


•  404 
335,  336 

•  349 
.  116 

401,  404 

413,  4i5 
.  488 

335,  336 

296,  297 

•  244 
197,  198 
218,  220 

.  488 
342,  343 


APPENDIX  III.]        TO    DEVICES    OR    EMBLEMS. 


533 


MIDSUMMER    NIGHT'S    DREAM-  contin  n*t. 


VOL.   PAGE.  ACT. 

sc. 

LINE. 

DEVICE   OR   SUBJECT. 

PAGES. 

II.       250 

IV. 

J 

77 

Vine  and  elm         .... 

7O7, 

1QQ 

258 

v. 

I 

o  / 

I 

sEsop    ...... 

owy 
302 

258 

V. 

I 

12 

The  poet's  glory    .... 

•     379, 

38o 

MERCHANT    OF    VENICE. 

II.     280 

I 

50 

The  two-headed  Janus  . 

•     139, 

140 

281 

I 

77 

The  world  a  stage 

. 

133 

281 

I 

77 

The  world  a  stage.      Plate  XV. 

•     407, 

410 

284 

. 

I 

161 

Golden  fleece  and  Phryxus     . 

.     229, 

230 

286 

2 

24 

The  old  man  prophesying 

•     213, 

215 

286 

2 

4 

Lottery          ..... 

.     208, 

209 

296 

II. 

I 

ii 

Lottery          ..... 

.         .     208, 

209 

312 

II. 

7 

4 

A  casket  scene         .... 

. 

150 

312 

II. 

7 

20 

''''golden  mind"  "golden  bed" 

. 

404 

3U 

II. 

7 

62 

Casket  scene  ..... 

. 

150 

3i8 

II. 

9 

63 

Casket  scene  ..... 

151 

319 

II. 

9 

79 

Moth  and  candle    .... 

•     151, 

153 

325 

III. 

2 

4i 

Insignia  of  Poets    .... 

.         .     218, 

219 

328 

III. 

2 

"5 

A  painter's  pcnver  .... 

112 

345 

IV. 

I 

75 

The  mountain  pine 

. 

476 

347 

IV. 

I 

124 

Envy,  description  of      ... 

•     432, 

433 

360 

V. 

I 

54 

Appreciation  of  melody    . 

. 

116 

36i 

V. 

1 

70 

Power  of  music      .... 

.     271, 

273 

AS    YOU    LIKE    IT. 

II.     39i 

I. 

3 

69 

Juno's  swans,  Golding's  Ovid 

. 

244 

393 

I. 

3 

1  20 

Ganymede,  Golding's  Ovid     . 

244 

394 

II. 

i 

29 

The  wounded  stag 

•     397, 

398 

400 

II. 

4 

43 

Sword  broken  on  an  anvil 

•     326, 

327 

405 

II. 

7 

13 

A  motley  fool        .... 

485 

406 

II. 

7 

42 

"A  motley  coat"    .... 

485 

409 

11. 

7 

136 

Theatre  of  human  life.     Plate  XIV. 

•     405, 

406 

409 

II. 

7 

137 

Theatre  of  human  life    . 

•     133, 

405 

409 

II. 

7 

139 

The  seven  ages  of  man.     Plate  XV. 

.     407, 

409 

427 

III. 

3 

67 

Hawking       ..... 

.         .     366, 

368 

442 

IV. 

3 

15 

The  Phoenix           .... 

•     234, 

236 

THE 

TAMING    OF    THE    SHREW. 

III.          10 

Ind. 

2 

4i 

Hawking       ..... 

.     366, 

367 

10 

Ind. 

2 

47 

Mythological  pictures  by  Titian 

114 

10 

Ind. 

2 

47 

Cytherea,  lo,  Daphne,  Apollo 

"5 

10 

Ind. 

2 

52 

Jupiter  and  lo 

. 

246 

10 

Ind. 

2 

55 

Daphne  and  Apollo 

.     296, 

297 

23 

I. 

2 

24 

Two  Italian  sentences     . 

. 

163 

45 

ii. 

I 

338 

Beautiful  furniture  described  . 

112 

67 

IV. 

I 

174 

Falconry        ..... 

•     366, 

367 

78 

IV. 

3 

165 

**  honour  peereth  in  tlie  meanest  habit." 

Plate  XVI. 

490 

534  REFERENCES  IN  SHAKESPEARE  [APPENDIX  III. 

ALL'S    WELL    THAT    ENDS    WELL. 


VOL. 

PAGE. 

ACT. 

sc. 

LINE. 

DEVICE  OR   SUBJECT. 

PA< 

;ES. 

III. 

112 

I. 

I 

76 

Symbolical  imagery         .... 

377 

119 

I. 

2 

58 

Bees,  —  and  native  land  .... 

•      361, 

365 

I23 

I. 

3 

73 

A  lottery       ...... 

.      208, 

2IO 

127 

I. 

3 

182 

Cupid  and  the  sieve        .... 

•      329, 

330 

132 

II. 

I 

40 

"cicatrice  an  emblem  ofvar" 

9 

'33 

11. 

I 

59 

The  Fox  and  the  Grapes 

•      310, 

3" 

201 

V. 

3 

5 

Niobe's  children  slain    .... 

.      292, 

293 

TWELFTH    NIGHT. 

III. 

223 

I. 

i 

9 

Actaeon  and  the  hounds 

•      277, 

278 

224 

I. 

i 

33 

"  The  rich  golden  shaft" 

404 

225 

J. 

2 

10 

Arion  and  the  dolphin   .... 

.      280, 

282 

231 

1. 

3 

127 

Zodiac,  —Taurus.     Plate  XIII. 

•     353, 

355 

OO  A 

J 

en 

138 

234 

y^ 

240 

I. 

5 

214 

Power  of  judging  artistic  skill 

• 

"3 

2C7 

II. 

I  C 

357 

ZJ/ 
2C7 

II. 

*j 

27 

357 

*JI 

265 

111. 

i 

*/ 

68 

Snatches  of  French          .... 

163 

271 

III. 

2 

73 

New  map  with  the  Indies 

. 

352 

285 

III. 

4 

34° 

Whitney's  Introduction 

464 

THE    WINTER'S    TALE. 

III. 

323 

I. 

2 

H5 

The  wounded  deer         .... 

•     398, 

400 

371 

IV. 

I 

7 

Old  Time,  pouter  of        .... 

473 

382 

IV. 

4 

116 

Proserpina,  —  see  Ovid  .... 

244 

383 

IV. 

4 

135 

Poetic  ideas,  or  symbolical  imagery 

379 

420 

V. 

2 

8 

"  J^dio  Romano  "  .          .... 

no 

422 

V. 

3 

H 

Description  of  statuary  .... 

. 

109 

423 

V. 

3 

18 

Sleep  and  death,  Holbein's  Simulachns 

•     469, 

470 

424 

V. 

3 

63 

Description  of  statuary    .... 

• 

189 

KING   JOHN. 

IV. 

17 

11. 

i 

134 

Hares  biting  a  dead  lion 

•     305, 

306 

26 

II. 

i 

373 

Theatre  of  human  life.     Plate  XIV. 

•     405, 

406 

37 

111. 

i 

96 

Gold  on  the  touchstone 

•     177, 

1  80 

42 

III. 

i 

258 

Snake  on  the  finger        .... 

•     342, 

343 

65 

IV. 

2 

125 

Occasion,  259  ;  or  Fortune    . 

.     261, 

264 

67 

IV. 

2 

170 

Mercury  mending  a  lute 

.     256, 

257 

76 

IV. 

3 

155 

Wind,  sun,  and  traveller 

. 

166 

9i 

V. 

7 

i 

The  swan,  the  Poet's  badge   . 

.     218, 

219 

RICHARD    11. 

IV. 

116 

I. 

i 

202 

Wreath  of  chivalry         .... 

•     169, 

170 

roc 

J_ 

I2Q 

432, 

477 

"3 

130 

I. 

3 

izy 

275 

'  '  no  virtue  like  necessity  " 

TOO 

347 

131 

I. 

3 

294 

"  the  frosty  Caucasus""1    .... 

. 

347 

APPENDIX  III.]        TO    DEVICES    OR    EMBLEMS.  535 
RICHARD    \\.-continucd. 

VOL.   PAGE.  ACT.     SC.   LINE.  DEVICE   OR   SUBJECT.  PAGES. 

IV.      137       ii.        i  53         Wreath  of  chivalry 169,   170 

I  1 20  The  Pelican  .......     393,  396 

1  270  hollow  eyes  of  death         ......     339 

2  12  Snake  in  the  grass          .....     340,  343 

2  24  Cadmus  and  the  serpents  teeth          ....     245 

2  29  Human  dependence        ......     465 

2  37        Drake's  ship 413,  415 

2  129  Countryman  and  serpent         ....      197,    198 

3  178  Phaeton  and  the  Sun-chariot           .         .          .     285,  286 
210       v.       3  57  Countryman  and  serpent         ....      197,    198 

FIRST    PART    HENRY    IV. 

IV.     317      IV.        I  97  Ostrich  with  spreading  wings          ....     370 

1  104  Mercury         .......     255,  257 

3  30  Sir  Walter  Bloiint          .         .         .         .         .         .160 

2  82  Time  leading  the  Seasons.     Plate  XVII.        .         .491 

4  25  Hydra  slain  by  Hercules        ....     374,  375 

SECOND    PART    HENRY    IV. 

IV.     392       II.        2  41  Time  terminates  all        ......     323 

4  165  Sword  with  Spanish  motto     ....      137,   138 

I  70  Occasion,  259 ;  Fortune         .         .         .         .261,  264 

4  103  Hands  of  Providence.     Plate  XVI.         .         .         .     489 

5  35  Sleep  and  Death,  Holbein's  Simulachres         .     469,  470 
5  75        Bees              361,  364 

3  136  Prometheus  chained       .....     266,  358 

KING    HENRY    V. 

IV.     491         i.    Chor.       5  Diligence  and  idleness   .....      145,   146 

493        i.        i  35  Hydra  slain  by  Hercules         ....     374,  375 

502        i.       2  178        Bees 360,  362 

538     ill.       4  I  Snatches  of  French          .          .         .       •,         .         .163 

543  in.       6  20  Image  of  Fortune  .         .....     261,  262 

544  in.       6  44        Thread  of  life 454,  455 

549  in.       7  10  Pegasus          .......      141,   142 

550  in.        7  54  French,  and  Latin  proverb       .....      144 

552     in.        7  130  The  mastiff  praised         ......     483 

555      iv.        i  3  "  goodness  out  of  evil "           .....     447 

555      iv.        i  9        Time  irrevocable.     Plate  XVII 491 

564      IV.        i  256  Sound  sleep  of  the  slave  ......      147 

574      IV.       4  2  Snatches  of  French          .         .         .         .         .         .163 

582      IV.        7  82  Pluman  dependence         ......     465 

588      IV.        8  100         Human  dependence 465 

591       v.        i  13        Turkey-cock 357,  358 

596       v.       2  48  Evils  of  war ........      147 

598        V.        2  107  Snatches  of  French           .          .          .          .          .          .163 


536 


REFERENCES   IN  SHAKESPEARE  [APPENDIX  III. 


FIRST    PART    HENRY    VI. 


VOL.   PAGE. 

ACT. 

sc. 

LINE. 

DEVICE   OR    SUBJECT. 

PAGES. 

V.         8 

I. 

I 

127 

"A  Talbot!  a  Talbot!" 

207 

I' 

2 

392 

20 

,* 

I. 

4 

49 

Adamant  on  the  anvil    . 

•     347, 

348 

25 

I. 

6 

6 

Adonis'  gardens,  Golding's  Ovid    . 

. 

243 

29 

II. 

I 

78 

The  cry,  "  A  Talbot  !  a  Talbot  !  " 

. 

207 

32 

II. 

3 

ii 

The  cry,  "  A  Talbot  !  a  Talbot  !" 

. 

207 

•j-j 

II. 

76 

A  picture  gallery  named 

114 

jj 
36 

II. 

4 

3° 

Rose  and  thorn      .... 

•     333, 

334 

II. 

c 

28 

Death             ..... 

469 

68 

IV. 

j 
I 

1  88 

Chaos,  —  discord     .... 

•     45°, 

453 

7i 

IV. 

3 

17 

Prometheus  bound 

.     266, 

268 

72 

IV. 

3 

47 

Prometheus  bound 

.     267, 

268 

78 

IV. 

6 

46 

Icarus  and  his  ill  fortune 

.     288, 

291 

80 

IV. 

7" 

60 

Order  of  St    Michael 

227 

80 

IV. 

7 

60 

Order  of  the  Golden  Fleece    . 

•     227, 

228 

82 

IV. 

7 

92 

Phcenix         ..... 

.         .     386, 

388 

86 

V. 

3 

3° 

Circe     ...... 

. 

252 

SECOND    PART    HENRY    VI. 

V.     129 

I. 

16 

484 

132 

II. 

_ 

i 

Falconry        ..... 

.        -     366, 

367 

H5 

II. 

3 

45 

Pine-trees  in  a  storm 

. 

477 

153 

III. 

55 

Fox  and  Grapes     .... 

.     310, 

312 

153 

III. 

69 

Jackdaw  in  peacock  s  featJiers  . 

. 

312 

158 

III. 

224 

Snake  in  the  grass 

•     340, 

34  : 

162 

III. 

343 

Countryman  and  serpent 

•     197, 

198 

162 

III. 

360 

The  porcupine        .... 

•     231, 

232 

168 

III. 

2 

125 

Bees      

.         .     361, 

363 

171 

III. 

2 

232 

Conscience    ..... 

.     421, 

422 

174 

III. 

2 

310 

Envy     ...... 

•     432, 

433 

182 

IV. 

I 

83 

The  pelican  ..... 

•     393,  394, 

397 

185 

IV. 

2 

27 

Thread  of  life         .... 

•     454, 

455 

197 

IV. 

'  7 

49 

Latin  proverb^  "  bona  terra"  &c. 

139 

206 

IV. 

10 

23 

Ostrich  eating  iron 

•     233, 

234 

213 

V. 

I 

143 

Bear  and  ragged  staff     . 

•     237, 

239 

215 

V. 

I 

196 

Bear  and  ragged  staff     . 

•     237, 

240 

217 

V. 

2 

28 

The  game  of  chess 

320 

217 

V. 

2 

28 

French  proverb,  "La  Jin  couronne"  <. 

320 

218 

V. 

2 

45 

./Eneas  and  Anchises 

.     191, 

192 

THIRD    PART    HENRY    VI. 

V.     244 

I. 

4 

16 

Phaeton         

•         •     285, 

286 

245 

I. 

4 

35 

Phcenix          ..... 

•     385,  387, 

388 

245 

I. 

4 

39 

Leash  of  proverbs    .... 

318 

252 

II. 

i 

5° 

Cupid  felling  a  tree 

324 

252 

II. 

i 

68 

Human  skull          .... 

•     337, 

339 

APPENDIX  III.]        TO    DEVICES    OR    EMBLEMS. 


537 


THIRD    PART    HENRY    VI.—  continued. 


VOL.   PAGE 

ACT. 

sc. 

LINE. 

DEVICE  OR   SUBJECT. 

PAGES. 

V.     271 

II. 

6 

IO 

Phaeton 

..-•    .  285, 

287 

280 

III. 

2 

48 

Many  drops  pierce  the  stone 

. 

324 

28l 

III. 

2 

51 

Inverted  torch        .... 

•    171.  173. 

174 

284 

III. 

2 

153 

Bear,  cub,  and  Cupid    . 

•     349, 

350 

285 

III. 

2 

1  88 

Countryman  and  serpent,  Sinon     . 

•     197, 

2OO 

309 

IV. 

4 

32 

Olive  branch  and  laurel  crown 

. 

223 

3I2 

'IV. 

7 

24 

Fox  and  Grapes     .... 

.     3™, 

3I2 

319 

V. 

i 

34 

Atlas    

. 

245 

319 

V. 

i 

54 

Wrongs  on  marble 

•        •     458, 

461 

324 

V. 

3 

i 

Four  wreaths  on  a  spear 

.       221, 

222 

325 

V. 

4 

i 

Ships  sailing           .... 

•     435,  436, 

438 

329 

V. 

5 

25 

JEsop    

. 

303 

332 

V. 

6 

18 

Icarus  ...... 

.         .     288, 

290 

KING    RICHARD    III. 

V.     473 

I. 

i 

i 

"Sun  of  York"     .... 

. 

223 

580 

IV. 

2 

8 

177, 

1  80 

583 

IV. 

2 

65 

D.  O.  M  

464 

606 

IV. 

4 

418 

The  phoenix  ..... 

'.        -     385, 

389 

615 

V. 

2 

Sir  James  Blount  .... 

. 

1  60 

617 

V. 

3 

30 

Sir  James  Blotmt  .... 

. 

160 

625 

V. 

3 

181 

Laurel,  type  of  conscience 

.     422, 

425 

KING    HENRY    VIII. 

VI.         3 

Prol 

, 

i5 

A  motley  coat        .... 

. 

485 

45 

n. 

3 

60 

Gem  in  a  ring  of  gold    . 

•         •     418, 

419 

46 

ii. 

3 

75 

Gem  in  a  ring  of  gold    . 

.        -     418, 

420 

56 

in. 

i 

i 

Orpheus  and  his  harp    . 

.     271, 

274 

76 

in. 

2 

372 

Laurel,  type  of  conscience 

.     422, 

424 

79 

in. 

2 

446 

D.  O.  M  

465 

84 

IV. 

I 

81 

Emblems  literally  .... 

. 

9 

87 

IV. 

2 

27 

Wrongs  on  marble 

.         -     458, 

459 

88 

IV. 

2 

77 

Swan,  the  Poet's  badge 

.     218, 

219 

103 

V. 

3 

IO 

D.  O.  M  

464 

To/1 

yt 

•7 

A  -7 

432, 

473 

\.\ji\. 
114 

V. 

J 

5 

TO 
28 

Phoenix          ..... 

•        •     385, 

TX/O 

390 

TROILUS    AND    CRESSIDA. 

VI.     130 

i 

94 

•     295, 

296 

J34 

2 

100 

Epithet  golden         .... 

•         •     403, 

404 

142 

3 

33 

Ship  sailing  forward 

•     436» 

439 

142 

3 

33 

.     299, 

300 

142 

3 

39 

143 

143 

3 

49 

Oak  and  reed,  or  osier  . 

•     315, 

316 

144 

3 

75 

Bees      . 

.     360,  361, 

363 

3    7- 

538  REFERENCES  IN  SHAKESPEARE  [APPENDIX  III. 
TROILUS    AND    C  RES  SID  A— continued. 

VOL.   PAGE.  ACT.  SC.  LINE.  DEVICE   OR   SUBJECT.                                       PAGES. 

VT.     144  I.  3  75        Chaos 449.  45 i 

155  i.  3  391  Ban-dog,  or  Mastiff        ......     483 

164  IT.  2  81  Paris  and  Helen    .......     463 

164  n.  2  92  Paris  and  Helen    .......     463 

1 68  n.  3  9        Mercury 255,   257 

169  n.  3  18        Envy 432,  433 

175  n.  3  189  Cancer,—  Zodiac.     Plate  XIII.       .         .         .     353,  355 

177  11.  3  237        Milo .     297 

178  ii.  3  240        Milo •              244,  344 

191  in.  2  169  Astronomer,  magnet,  polestar         .         .         .     335,  337 

198  III.  3  145  Active  exertion  demanded        .....     37^ 

201  in.  3  196  Hand  of  Providence       ......     489 

228  iv.  5  183  Pegasus                                                                       299,  300 

230  iv.  5  223  Setting  sun    ........     323 

247  v.  3  37  "  kindness  befitting  a  lion "      .....      282 

253  v.  5  ii  Sagittary, — Zodiac.     Plate  XIII.  .         .               353,  355. 

259  v.  9  21  Hares  biting  a  dead  lion         ....     304,  305 

261  v.  ii  1 6  Niobe  and  her  children .         ....     292,  294 


CORIOLANUS. 

VI.     287  i.  3  7  Wreath  of  oak 224,  225 

304  I.  9  58  Wreaths  of  victory          .....     221,  225 

312  II.  i  109  Wreath  of  oak       ......     224,  226 

323  n.  2  84  Wreath  of  oak 224,  225 

344  in.  i  161  D.  O.  M 465 

369  iv.  I  44  Gold  on  the  touchstone .         .         .         .      175,    177,  181 

380  iv.  5  100  Sword  011  an  anvil          .....     325,  326 

403  v.  2  102  Oak  and  reed,  or  osier  .....     315,  316 

407  V.  3  101  Great  Roman  names       ......  201 

411  v.  3  206  Great  Roman  names       .         .         .         .         .         .201 


TITUS    ANDRONICUS. 

VI.     450  n.  i  5  The  zodiac.     Plate  XIII 353 

451  n.  i  14  Prometheus  chained 266,  268 

451  n.  i  18  Sirenes 253,  254 

456  ii.  2  I  Tabley  Old  Hall,  chimneypiece         .         .         .         .131 

459  n.  3  55  Actseon  and  hounds        .....     277,  279 

472  in.  i  12  "  to  write  in  the  dust" 461 

483  in.  2  9  Theatre  of  human  life.     Plate  XIV.        .         .     405,  406 

490  iv.  i  85  Wrongs  on  marble 458,  460 

490  iv.  i  102  Wrongs  on  marble 458,  460 

492  IV.  2  1 8  Conscience,  pcnver  .......  420 

501  iv.  3  52  The  zodiac.     Plate  XIII 353,  354 

522  v.  2  192  Progne 193 

527  v-  3  85  Countryman  and  serpent,  197 ;  Siiwn     .         .         .  200 


APPENDIX  III.]        TO    DEVICES    OR    EMBLEMS.  539 

ROMEO    AND    JULIET. 


VOL.   PAGE 

.  ACT. 

sc. 

LINE. 

DEVICE   OR    SUBJECT. 

PAGES. 

VII.       23 

I. 

4 

4 

Cupid  hoodwinked         .... 

•     329,  331 

30 

I. 

5 

41 

Gem  set  in  gold     ..... 

.     418,  420 

42 

II. 

3 

90 

Vemts  dispensing  Cupid  from  his  oaths    . 

•     327 

58 

II. 

4 

I87 

Astronomer  and  magnet 

•     187,  335 

59 

II. 

5 

8 

Doves  and  winged  Cupid 

.     245 

72 

III. 

2 

i 

Phaeton         ...... 

.     285,  286 

75 

III. 

2 

69 

Snake  in  the  grass          .... 

•     34Q>  34i 

84 

III. 

3 

126 

Dispensing  from  oaths    .... 

•     327,  328 

117 

V. 

i 

15 

Time  and  eternity,  symbol.     Plate  XVII. 

.     492 

124 

V. 

3 

61 

D.  O.  M.       

.     464 

126 

V. 

3 

in 

Theatre  of  human  life.     Plate  XIV. 

.     405,  406 

TIMON    OF    ATHENS. 

VII.     228 

II. 

i 

28 

Jackdaw  in  borrowed  phimes  . 

•     312,  3H 

245 

III. 

3 

i 

Gold  on  the  touchstone  .... 

175,  177,   180 

254 

III. 

5 

31 

Wrongs  on  marble          .... 

•     458,  459 

263 

III. 

6 

103 

Timorfs  intense  hatred  .... 

•     427,  428 

265 

IV. 

i 

35 

The  extravagance  of  Timon's  hatred 

.     429 

269 

IV. 

3 

18 

The  extravagance  of  Timon's  hatred 

.     429 

270 

IV. 

3 

51 

The  extravagance  of  Timon's  hatred 

.     429 

288 

IV. 

3 

473 

The  extravagance  of  Timon's  hatred 

.     429 

269 

IV. 

3 

25 

Gold  on  the  touchstone 

175,  177,   178 

281 

IV. 

3 

317 

Mention  of  many  animals 

•     375 

281 

IV. 

3 

324 

Mention  of  many  animals 

•        •     376 

281 

IV. 

3 

331 

The  unicorn  ...... 

•     37i,  373 

283 

IV. 

3 

377 

Gold  on  the  touchstone 

.     177,  178 

305 

V. 

4 

69 

Timon's  epitaph      ..... 

.    430 

JULIUS    C^iSAR. 

VII.     322 

I. 

i 

68 

Jackdaw  in  borrowed  plumes  . 

•    312,  313 

326 

I. 

2 

107 

^Eneas  and  Anchises      .... 

•     191,  193 

329 

I. 

2 

192 

Characteristics  of  Brutus  and  Cassius 

.     205 

334 

I. 

3 

5 

Oak  and  reed,  of  osier  .... 

•     315,  3i6 

1  A  T 

II 

j 

371,  372 

363 

III. 

i 

58 

Astronomer  and  magnet 

•     335,  336 

368 

III. 

i 

205 

The  wounded  stag 

•     398,  399 

375 

III. 

2 

73 

Wrongs  on  marble          .... 

•     458,  459 

384 

IV. 

I 

12 

Three-cornered  world    .... 

•     35i,  352 

389 

IV. 

3 

21 

Dog  baying  at  the  moon 

.     269,  270 

396 

IV. 

3 

2I3 

Occasion.     Plate  XII.   . 

.     259,  260 

409 

V. 

3 

80 

Wreath  of  victory  

221,    224,    226 

4i3 

V. 

5 

25 

Death  of  Brutus     

.       2O2,    2O3 

MACBETH. 

VII.     438 

I. 

5 

61 

Snake  in  the  strawberry 

.       340,    341 

442 

T. 

7 

44 

"  /  dare  not,  '  '  4  '  /  would  '  ' 

-            -       376 

540  REFERENCES  IN  SHAKESPEARE  [APPENDIX  III. 


VOL.   PAGE.  ACT. 

sc. 

LINE. 

DEVICE   OR   SUBJECT. 

PAGES. 

VII.  444 

ii. 

I 

7 

D.  O.  M  

464 

454 

n. 

2 

71 

Sleep  and  death,  Holbein's  Sinmlachres 

469, 

470 

454 

ii. 

3 

67 

Gorgon^  Golding's  Ovid          .... 

244 

459 

ii. 

4 

10 

Falconry        ....... 

366, 

368 

467 

in. 

2 

22 

'  '  After  life  's  fretful  fever  he  sleeps  well  "  . 

. 

492 

512 

V. 

5 

19 

Theatre  of  life.     Plate  XIV. 

405, 

406 

512 

v. 

5 

24 

Time  leading  on  the  Seasons.     Plate  XVII.  . 

• 

491 

HAMLET. 

VIIL     14 

i. 

2 

71 

Time  leading  the  Seasons.     Plate  XVII. 

. 

491 

35 

i. 

5 

13 

The  porcupine       ...... 

231, 

232 

63 

ii. 

2 

295 

"  Man  a  God  to  man"  ..... 

283, 

284 

79 

in. 

I 

62 

Theatre  of  life.     Plate  XIV. 

405, 

406 

79 

in. 

I 

60 

Sleep  and  death,  Holbein's  Simulachres 

469, 

470 

79 

in. 

I 

70 

Deaths  praises,  life's  evils       .... 

471 

80 

in. 

I 

76 

Fardel  on  a  swimmer     ..... 

481 

97 

in. 

2 

259 

The  wounded  stag          ..... 

398, 

399 

in 

in. 

4 

53 

The  herald  Mercury       ....     255, 

256, 

258 

in 

in. 

4 

55 

A  poefs  artistic  description      .... 

112 

117 

in. 

4 

205 

Cannon  bursting    ...... 

344, 

345 

127 

IV. 

4 

33 

The  camel  and  his  driver        .... 

283 

135 

IV. 

5 

135 

The  pelican  .         .         .         .         .         .     393, 

394, 

396 

145 

IV. 

7 

84 

Pegasus          ....... 

143, 

144 

153 

V. 

i 

73 

Human  skull          .         .         . 

337, 

338 

154 

V. 

i 

86 

Human  skull          ...... 

337, 

338 

158 

V. 

i 

191 

Human  skull          ...... 

337, 

339 

164 

V. 

2 

8 

Drake's  ship           ...... 

4i3, 

414 

KING    LEAR. 

VIIL  280 

I. 

4 

93 

Child  and  motley  fool    ..... 

485 

295 

I. 

5 

33 

"why  seven  stars"         ..... 

356 

307 

II. 

2 

73 

King-fishers  ....... 

392, 

393 

317 

11. 

4 

61 

Ants  and  grasshopper    ..... 

148, 

149 

320 

II. 

4 

129 

Prometheus  and  the  vulture    .... 

266, 

358 

342 

III. 

4 

68 

Pelican          ......     393, 

394, 

396 

366 

IV. 

i 

64 

Hands  of  Providence.     Plate  XVI. 

489 

416 

V. 

3 

171 

our  pleasant  vices,  &c.    ..... 

425 

OTHELLO. 

VIIL  477 

11. 

i 

I2Q 

"  Old  fond  paradoxes"  ..... 

498 

II. 

3 

.7 

290 

Hydra  slain  by  Hercules         .... 

374, 

375 

500 

II. 

3 

326 

Symbols         ....... 

2 

505 

III. 

i 

47 

Occasion.     Plate  XII  259, 

261, 

265 

512 

III. 

3 

H5 

Confidence  kept  back        . 

434 

513 

III. 

3 

159 

Calumny       ....... 

434 

APPENDIX  III.]        TO    DEVICES    OR    EMBLEMS.  541 

OTH  ELLO— continued. 


VOL.   PAGE. 

ACT. 

sc. 

LINE. 

DEVICE   OR   SUBJECT. 

PAGES. 

vm.  574 

V. 

2 

.   7 

Light  ;  the  Canoness      ..... 

•       469 

581 

V. 

2 

146 

Swan    .         .         .         . 

.     218 

586 

V. 

2 

249 

Swan    ......     213,  216, 

2  1  8,    220 

ANTONY    AND    CLEOPATRA. 

IX.     38 

II. 

2 

201 

Appreciation  of  art         ..... 

•       "3 

4° 

II. 

2 

245 

The  lottery    .... 

2o8,    211 

48 

II. 

5 

95 

Narcissus  at  the  stream  .         .         .         .         . 

205,    206 

60 

II. 

7 

IOI 

Bacchus         ....... 

246,    247 

64 

111. 

2 

7 

The  Phoenix           381, 

387,    389 

100 

III. 

I3 

195 

Ostrich,  or  estridge        ..... 

371,    372 

109 

IV. 

6 

5 

Map,  "  three-nooked  world" 

35i,  353 

118 

IV. 

12 

3 

Medeia,  swallows  on  her  breast 

.     190 

123 

IV. 

14 

46 

Lamp,  or  torch  of  life    ..... 

•    456 

132 

IV. 

15 

84 

Lamp  of  life           ...... 

150 

V. 

2 

277 

Time's  and  eternity's  emblems.     Plate  XVII. 

•    49i 

I5i 

V. 

2 

305 

Chitnney-piece  at  the  Old  Hall,  Tabley    . 

•     131 

CYMBELINE. 

IX.   167 

I. 

I 

130 

The  eagle  renewing  its  feathers 

•    369 

183 

I. 

6 

12 

The  phoenix  ......     234, 

235,  236 

183 

I. 

6 

15 

The  phoenix,  "  Arabian  bird  " 

387,  390 

184 

I. 

6 

30 

Ape  and  miser's  gold     ..... 

.    488 

185 

I. 

6 

46 

Contrasts  of  epithets        ..... 

•     474 

191 

I. 

6 

1  88 

Jewels  and  ornaments  of  rare  device 

8 

207 

II. 

4 

68 

Adornments  of  Imogen's  chamber    . 

in 

212 

II. 

5 

33 

Envy    ........ 

432,  433 

226 

III. 

4 

57 

Countryman  and  serpent,  Sinon 

197,  208 

240 

III. 

6 

31 

Diligence  and  idleness  ..... 

145,   H7 

253 

IV. 

2 

172 

Pine-trees  in  a  storm      ..... 

•     477 

257 

IV. 

2 

2<Q 

SIC 

PERICLES    PRINCE    OF    TYRE. 

IX.   325 

I. 

2 

102 

Thread  of  life        

454,  455 

343 

11. 

2 

17 

The  Triiimph  Scene        

158,  159 

343 

II. 

2 

19 

A  black  Ethiope     

.     160 

343 

II. 

2 

27 

Spanish  motto         ...... 

.     162 

343 

II. 

2 

30 

Wreath  of  chivalry         ..... 

1  68,   169 

343 

II. 

2 

32 

Inverted  torch       .          .          .         .          .      1  70, 

171,   173 

343 

II. 

2 

33 

Quod  or  qui  me  alit        ..... 

170,   174 

344 

II. 

2 

36 

Gold  on  -the  touchstone           .... 

175,   177 

344 

II. 

2 

43 

Withered  branch    ...... 

181,   183 

345 

II. 

3 

9 

Wreath  of  victory  ...... 

223,  224 

366 

III. 

2 

26 

Man  a  God  to  man         ..... 

283,  284 

375 

IV, 

Intr. 

12 

Envy    ........ 

432,  433 

542 


REFERENCES   TN  SHAKESPEARE.  [APPENDIX  III. 


POEMS. 


VENUS    AND    ADONIS. 


VOL.   PAGE.   LINE.   SONNET. 
IX.       436  ... 


DEVICE   OR   SUBJECT. 


Dedication 


PAGES. 

•     475 


IX.  544  1723 
5i5  869 
537 


RAPE    OF    LUCRECE. 

The  chimney-piece,  Tabley  Old  Hall  .  .         .  133 

Occasion  or  opportunity.     Plate  XII.  .  .259,  264 

Countryman  and  serpent,  Sinon      .  .  .197,  200 


IX.     578          i        55 

583          i        65 


SONNETS. 

Ruins  and  writings 
Ruins  and  writings 


•  443,  445 

•  443>  445 


IX.     638        92 


A    LOVER'S    COMPLAINT. 
Phoenix 


38i,  385,  389 


THE    PHCENIX    AND    THE    TURTLE. 

IX.     671         21        .         .         Phoenix 381,  385,  388 

671         25         .          „         Phoenix  with  two  hearts          .....  384 

671  37        .         .         Phoenix  with  two  hearts          .         .         .         .  384 

672  53        .         .         Phoenix'  nest 23,  381,  389 


ffesitis,  1536. 
Per  c<zctim  videt  oinuia  punctual. 


ENERAL     INDEX, 

ARRANGED  ACCORDING  TO  FOUR  SUBJECTS: 

1.  EMBLEM  WRITERS  PREVIOUS  TO  A.D.  1616. 

2.  PROVERBS,    SAYINGS,   AND    MOTTOES. 

3.  WORKS    QUOTED    OR    REFERRED    TO. 

4.  MISCELLANEOUS    REFERENCES. 


A. 

A,  O.  L.  Linacre's  Galen,  Paris,  1538, 
p.  105;  O.  L.  Nefdesfoh,  f.  xvi.,  Paris, 
1499,  p.  1 88  ;  O.  L.  Alciat's  Emblems, 
2,  Paris,  1534,  p.  377. 

1.  A.   Bruck,  Emb.  mor.  et  bellica,   1615, 

p.  95  ;  Emb.  politico,,  1618,  pp.  34,  97. 
vEsop,    Fables,  Latin  and  German,    1473  > 

Italian,     1479 ;    Greek,    1480 ;    French 

and     English,    1484  ;     Spanish,     1489  ; 

thirty  other  editions  before  1500,  p.  51. 
Aesticampianus,     Tabula     Cebetis,      1507, 

p.  12. 
A.    Ganda,    Spiegel    van    vrouwen,    1606, 

p.  98  ;  Emblemata  amatoria  no-i'a,  1613, 

p.  98. 
Alberti,  Ecaionphyla,  1491 ;  French,  1536, 

P-  55- 

Alciat,  Andrew,  Emblematiim  libellus, 
1522,  p.  69  ;  Emb.  liber,  1531,  its  size 
compared  Math  eel.  1621,  p.  69  ;  in  the 
interval  above  130  editions ;  French, 
J53^  >  German,  1542  ;  Spanish  and 
Italian,  1549  ;  English  (?),  1551,  p.  70  ; 
Commentators,  70  ;  arms  or  device, 
211. 


Aleander,   Explicatio  antiq.    fabulce,    &c., 

1611,  pp.  95,  97. 

Altorfinoe,  Emb.  auniversaria,  1597,  p.  94. 
Amman,  Biblical  figures,   Heraldry,    &c., 

1564,  p.  85. 
Ammirato,    //    rota    overo    delV    imprese, 

1562,  pp.  79,  81. 

Aneau,  French  Alciat,  1549,  p.  70  ;  Picta 
poesis,  and  1} imagination  poetiqiie,  I552> 

p.  76. 

Angeli,  Astrolabium  planum,  1488,  p.  42. 
Anjou,    La  joyense  et  mag.    entrie,   1582, 

P-  87- 

Apocalypse,  a  block-book,  48,  49. 
Arias    Montanus,   Hum.    sahitis   monum., 

1572,  pp.  88,  89. 
Ars  memorandi,  a  block-book,  about  1410, 

P-45- 
Astronomical  MS.,  about  1330,  Chetham 

Library,  41. 
Austria,  Don  John  of,  On  Sambucus,  1572, 

p.  86. 

2.  Aliamque  moratur,  124  ;  Altera  sccu- 
ritas,  124  ;  Amicitia  etiam  post  mortem 
durans,  and  Amicitice  immortali,  307  ; 
Amor  certus  in  re  incerta  cernitur,  179  ; 
A  mor  is  jiisjnrandiim  pcenam  non  habet, 


544 


GENERAL    INDEX. 


328  ;  Amor  vincit  omnia,  7  >  Anchora 
speme,  185  ;  Armat  spina  rosas,  mella 
tegunt  apes,  333 ;  Ars  natnram  adjuvans, 
255  ;  Ars  rhetor  triplex  movet,  &c.,  141  ; 
Au  navire  agite  semble  lejour  de  Fhomme, 
437  ;  Auri  sacra  fames  qtiid  non  ?  480  ; 
A^lxilio  divino,  413  ;  Ave  gratid  plena, 
domimis  tecum,  46  ;  A  vous  entier :  fen 
sitis  contente,  45. 

3.  ^Eschylus,    on    Symbol,     p.   2,    Swan, 

213- 

^Esop's  Fables,  low  estimate  of  by  Shake- 
speare, 302;  Antwerp,  ed.  1593,  p.  313; 
Jackdaw  and  fine  feathers,  312. 

Aikin's  General  Biography :  Champier,  63; 
Joachim,  67  ;  Pierius,  80. 

Alciat,  characterised,  69;  quoted,  Janus, 
139-40 ;  Hope,  182 ;  ./Eneas  and  An- 
chises,  191  ;  Medea  and  Progne,  191  ; 
Brutus,  201  ;  Zisca,  206  ;  Swan,  213  ; 
Insignia  of  poets,  218  ;  Phrixus,  229  ; 
Sirens,  253 ;  Mercury  and  Fortune,  255  ; 
Occasion,  259 ;  Prometheus  bound,  266 ; 
Dog  and  moon,  270  ;  Actseon,  ,  275  ; 
Arion,  280  ;  Phaeton,  285  ;  Icarus,  288 ; 
Niobe,  292 ;  Narcissus,  295  ;  Pegasus, 
299  ;  Several  fables,  303 ;  Friendship 
after  death,  307  ;  Bees,  360  ;  Cupid  and 
death,  401  ;  Envy,  431  ;  Ship-sailing, 
435  ;  Student  entangled  in  love,  440. 

Amboise,  1620,  named  by  Menestrier,  79. 

Ames'  Antiquities  of  printing  names  an 
English  version  of  Alciat,  70. 

Anacreon,  the  swan,  214 

Aneau,  or  Anulus,  quoted  :  Progne,  193  ; 
Brasidas,  194;  Swan,  213;  Prometheus, 
267 ;  Actseon,  276 ;  Narcissus,  295  ; 
Daphne,  296  ;  Skull,  337  ;  Chaos,  449. 

Animals,  artistic  books  of,  1560  —  1586, 
p.  85. 

Archreologia,  lottery,  208  ;  Ages  of  man, 
406. 

Aristotle,  the  head  an  index  of  the  mind, 
129  j  Halcyon's  nest,  391. 

Arundel  MS.,  ages  of  man,  406. 

Athena  (Cantab,  ii.  p.  258),  Spenser,  87. 

Augustine,  S.,  Confessions,  426. 

Aulus  Gellius,  Androcles  and  lion,  281. 

Ayscough,  461. 


4.  Achilles,  shield  of,  20. 

Actseon,  referred  to  by  Alciat,  275  ;  Shake- 
speare, Aneau,  Sambucus,  276  ;  Palae- 
phatus,  Ovid,  Whitney,  278  ;  and 
Shakespeare,  279. 

Adam  hiding,  by  Shakespeare,  Whitney, 
416  ;  Montenay  and  Stamm  Buch,  416. 

Adam's  apple,  reference  to  Milton,  Plate 
X.,  132. 

Adamant,  indestructibility :  Le  Bey  de 
Batilly  and  Pliny,  347  ;  Shakespeare,  348. 

^Eneas,  his  shield,  20  ;  and  Anchises,  by 
Alciat  and  Whitney,  191  ;  Shakespeare, 

193- 

Albret,  Madame,  Queen  of  Navarre,  88. 
Aldi,  1490 — 1563,  device,  16;  Horapollo, 

1505,  p.  64. 
Alphonso     V.,    ancestor     of    Don    Juan 

Manuel,  1575,  p.  90. 

America  and  West  Indies  ignored,  350, 352. 
Androcles  and  the  lion,  281. 
Antefixse,  of  Etruscan  art,  19. 
Ants  and   grasshopper,   by  Freitag,    148  ; 

and  Whitney,  148. 
Ape  and   miser's  gold,   by  Cullum,   128  ; 

Paradin,    Whitney,  and  Symeoni,   486  ; 

Shakespeare,  488. 
Apollo  and  the  Christian  muse,  Le  Bey  de 

Batilly,  379;  Shakespeare,  380. 
Appendices,  I.  497,  IT.  515,  in.  531 — 542. 
Architecture  and  statuary  excluded,  n. 
Argonauts  and  Jason,  229 ;  Shakespeare, 

230. 
Arion,    by   Alciat,    280 ;     Whitney,    &c., 

281  ;  Shakespeare  and  Microcosm,  282, 

283. 

Arms  on  Queen  Mary's  bed,  123,  124. 
Arran,  earl  of,  I549>  patron  of  Aneau,  108, 

121. 

Arrow  wreathed  on  a  tomb,  Paradin,  183. 
Art,  Shakespeare's  exquisite  judgment  of, 

108 — 117. 

Ascencian  printing  press,  1511,  p.  63. 
Ass  and  wolf,  53,  54. 
Astronomer  and  magnet,   Sambucus,  335  ; 

Whitney,  335  ;  Shakespeare,  336. 
Athenian  coin,  8. 
Atkinson's  gem,  Picta  Poesis,  76. 
Atlas,  by  Giovio  and  Shakespeare,  245. 
Augustus,  his  emblem,  15. 


GENERAL    INDEX. 


545 


B. 

1.  Badius,   Stitltif.  navic.  fatuarum   mul., 

1500,  1502,   p.   6 1  ;  Ncf  des  folks,  &c., 

1501,  p.  62  ;  Account  of,  63. 
Balsat,  Nef  des  princes,  &c.,  1502,  p.  63. 
Barclay,  Shyp  of  folys  of  the  worlde,  1509, 

1570,  PP-  57,  65,  91,   119;  Mirrour  of 
goodmaners,  1570,  p.  58. 

Bargagli,  79  ;  DeW  Imprese,  1589,  p. 
87. 

Bedford  Missal,  MS.,  1425,  p.  44. 

Beham's  Bible figitres,  1536,  p.  72. 

Bellerophon,  of  Lust  tot  ivysheyd,  1614, 
p.  98. 

Belloni,  Discorso,  1601,  p.  92. 

Bernardetti,  Giornata  prima,  &c.,  1592, 
pp.  79,  92. 

Beza,  Iconcs,  accedunt  emb.,  1581,  p.  88. 

Bible figtires,  1503,  p.  63  ;  1536,  p.  72. 

Biblia  paupenim,  1410 — 1420,  p.  45  ; 
Plate  VI.,  46  -,  Description  of,  46,  47. 

Biblische  historien,  1551,  p.  73. 

Billyng,  Five  wounds  of  Christ,  MS., 
1400,  ed.  1814,  p.  41. 

Block-books:  Biblia  pauperum,  Plate  VI., 
45 — 47  ;  Book  of  Canticles  and  the  Apo- 
calypse of  S.  John,  48  ;  Ars  memorandi, 
45,  48  ;  Historia  S.  Joan.  Evangelist., 
sold  for  41 5/.,  not  for  45/.,  Plates  VII. 
and  VIII.,  49  ;  Print,  Plate  XV.,  407. 

Bocchius,    Symbol.    Qitast.,   libri  v.    1555, 

P-  77- 

Boissard,  Theatrum  vitce  humana,  1596, 
p.  31  ;  Shawspiel  Menschliches  lebens, 
J597,  P-  97  ;  Fal1  of  Satan,  Plate  XL, 
133  ;  Human  life  a  theatre,  Plate  XIV., 

405. 

Boissart,  Mascarades  recueillies,  93,  94. 
Bol,  Emb.  evang.  ad  XII.    signa,    1585, 

p.  88. 
Boner,    German  fables,    about    1400,    ed. 

1461,  p.  50. 

Borcht,  Ovid's  Metamorphoses,  1591,  p.  94. 
Boria,  Emprese  morales,  1581,  p.  90. 
Brandt,  Narren  schyff,  1494  ;  Stult.  navis, 

before  1500,  Plate  IX.,  ed.  1497,  p.  57; 

Nef  des  folz,  57  ;  Flemish  version,  1504, 

Two   English,    1509,    p.   57  ;    Hortitlns 

anima",  MS.,  ed.  1498,  p.  58. 


Broecmer,    Embl.    moralia    ct   occonomica, 

1609,  pp.  95,  97. 

Brosamer,  Biblische  historien,  1551,  p.  73. 
Bynneman,  Van  der  Noot's  theatre,  1569, 

p.  91. 

2.  Beaiilte  compaigne  de  bonte,  418  ;  Bella 
Maria,    125  ;    Bona   terra,    mala  gens, 
139  ;  Breue  gioia,    152  ;  B  rev  is  et  dam- 
nosa  vohiptas,  152. 

3.  Bacon's  Adv.  oj  learning,  i. 
Bateman's  ed.  Five  wounds  of  Christ,  40. 
Bellay's  Cupid  and  death,    1569,  p.  400  ; 

Dog,  482  ;  Emblem  writing,  136. 
Berjeau's  Biblia  pauperum,   ed.  1859,  pp. 

45,  48. 
Beza,    quoted,     Phrixus,    230  ;    Dog    and 

moon,  270;  Engineer  and  petard,  344. 
Biographie  Unh'erselle,  Boner,  50;  Zainer, 

55  ;  Badius,  63  ;  Shoeufflein,  67  ;  Manuel, 

90  ;  Dinet,  94  ;  Van  Visscher,  98, 
Blanchet's  Apologues  orientaux,  17. 
Blandford,  Catalogue-  of  emblem  books,  35, 

55- 

Blomfield's  Norfolk,  Lottery,  208. 
Bonn's  Holbein,  ed.    1858,   Lottery,   207  ; 

Edward  VI.  121. 
Boissard  quoted,   Satan's  fall,   132,   133  ; 

Bacchus,     247  ;    Bear    and  whelp    and 

Cupid,    349  ;    Human   life,   405.       See 

Messin,  Emblemes. 
Brucioli's     Trattato    della     spkera,     1543, 

Zodiac,  Plate  XIV.,  353. 
Brunei's  Manuel  du  libraire,  39  ;  Speculum 

humance  salvationis,  43  ;  Dyalogtts  Crea~ 

tnrarum,  5 1  ;  Ecatonphyla,  55  ;  Todten- 

tanz,    56 ;   Figures   dtt   vieil   Test.,    63 ; 

Turnierbuch,  68  ;   Figiires  of  the  Bible, 

73  ;  Giovio,  &c.,  78  ;  Spelen  van  sinne, 

8 1  ;  Hoffer,  81  ;  &c. 
Bryan's  Diet,  of  Engravers,   Zainer,  56  ; 

Boissart,  94 ;  Van  Veen,  96. 
Biydges,  Egerton,  Res  literarice,  78,  100. 

4.  Bacchus,  by  Boissard,  and  Microcosme, 
247 ;    Alciat,    Whitney,    248 ;    Shake- 
speare, 249. 

Badges,  traced  by  Giovio,  14  ;  Of  ancient 
usage,  14;  Augustus,  15  ;  Titus,  16. 
4  A 


546 


GENERAL    INDEX. 


Ban-dog,  Sir  T.  More,  Spenser,  481  : 
Sambucus,  482  ;  Whitney,  483 ;  Shake- 
speare, 484. 

Barrel  with  holes,  Paradin,  Whitney, 
332. 

Bear  and  ragged  staff,  Whitney,  236,  239  ; 
traced  to  the  Earls  of  Warwick,  237, 
239  ;  Shakespeare,  239. 

Bear  and  cub,  Boissard,  349  ;  Tronus 
Cupidinis,  348  ;  Shakespeare,  350. 

Beauchamp,  Thos.  and  Richd.,  their 
monuments,  237. 

Beccafumi's  designs  for  seven  ages,  407. 

Bed  of  state,  with  emblems  by  Mary 
Stuart,  123,  126 ;  at  Hinckley, 
126. 

Bees,  types  of  good  government,  Hora- 
pollo,  358 ;  Alciat,  360 ;  King  bee, 
Plato,  Xenophon,  Virgil,  359  ;  Types  of 
love  for  native  land,  Whitney,  361  ; 
Commonwealth,  Shakespeare,  362  — 

364- 
Bellerophon    and    Chimsera,    Alciat    and 

Shakespeare,  299,  300. 
Bird  caught  by  an  oyster,  130  ;  In  a  cage, 

and  hawk,  124. 
Black  Ethiope  reaching  at  the  sun,    123, 

1 60 — 162;  No  exact  resemblance  found, 

Reusner,  160,  161. 
Blount's  crest,  an  armed  foot  in  the  sun, 

1 66  ;  Families  of  Blounts,  160. 
Bodily  signs  emblematical,  17. 
Bodleian  library,  its  block-books,  49. 
Bona  of  Savoy,  the  Phoenix  her   device, 

234. 
Brasidas  and  shield,  Aneau  and  Whitney, 

194,  195. 
Bridgewater      gallery,       Diana      bathing, 

III. 
Britain,  emblem  literature  known  in,  119 

-137. 
Brutus,    death    of,    Alciat    and   Whitney, 

201,    202  ;     Shakespeare,     203,     204 ; 

Characteristics  of  Brutus   and   Cassius, 

Shakespeare,  204,  205. 
Bullogne,  Godfrey  of,  his  impresa,  123. 
Butterfly     and     candle,     Paradin,     151  ; 

Corrozet,     Camerarius,    Vcenius,     152  ; 

Symeoni,      153  ;     Shakespeare,      153  ; 

Boissard,  152. 


c. 

C,    0.  L.,  Alciat,  38  Ant.,  1581,     .  497. 

1.  Caburacci,  Trattato...di  fare  le  imprese, 

1580,  pp.  79,  86. 
Callia,  Emb.  sacra,  e  libris  Mosis  exccrpta, 

1591,  P-  94- 
Camerarius,    Symb.    et  emblematttm,    &c., 

1590,  p.  89. 
Camilli,  Imprese — coidiscorsi,  &c.,  1586,  p. 

87. 

Canticles,  book  of,  a  block-book,  48. 
Capaccio,  Delle  imprese  trattato,  1592,  pp. 

34,  85. 

Caputi,  Lapompa,  1599,  p.  92. 
Cartari,  Imagini  del  Dei  degli  antichi,  1 5  56, 

P-  79- 
Cedes,  Tablet  of,  B.C.  390,  p.  12  ;  Editions 

various,   1497 — 1507,    pp.    13,    68  ;    De 

Hooghe's    and     another's     delineation, 

Plates  I.  and  I.  b,  13,  68. 
Champier,  La  nefdes  dames  vertueuses,  1503, 

p.  63. 
Chartier,  Les  blasons  de  vertu  par  vertu, 

1574,  pp.  87,  88. 

Chiocci,  Delle  imprese,  1601,  pp.  79,  92. 
Cimolotti,  Ilsuperbi,  1587,  p.  87. 
Clamorinus,  TJmrnier-buch,  1590,  p.  90. 
Clemens  of  Alexandria,  Stromata,  21. 
Ccelius,  Emblemata  sacra,  1589,  p.  89. 
Combe,  Emblems,  about  1594,  p.  120. 
Compost  des  bergers,  1500 — 1705,  p.  42. 
Contile,     Ragionamento  ...  delle     imprese, 

1574,  PP-  79,  86. 
Coornhert,  Recht  ghebruyck  ende  misbruyck, 

1585,  p.  90. 
Corrozet,  Hecatomgraphie,  1540,  and  other 

works,  74. 
Cory,  Hieroglyphics  of  Horapollo  Nilous, 

1840,  pp.  22,  24, 
Costalius,  Pegma,  cum  nar.  phil.,  1555,  P« 

77- 

Costerius,  'O  Mi/cpJ/cotr/ios,  1584,  p.  98. 
Coustau,  Lepegme,  avecles  nar. phil.,  1560, 

P-  77- 

Crosse,  His  covert,  MS.  about  1600,  with 
reasons  for  that  date,  100. 

2.   Canis   qitcritur    nimhim    nocerc,    482  ; 


GENERAL    INDEX. 


547 


Cauls  rcversiis  ad  stium  vomititm,  &c., 
144  ;  Captivus  ob  giilam,  130 ;  Caven- 
d-inn  a  meretricibus,  250  j  Certe  lit  vita 
es  mihi,  161  ;  Christus  bajulat  crucem, 
43  ;  Come  l"*oro  nel  foco,  179;  Comimis 
et  emimis,  231  ;  Coney,  so  doth  striiggle 
in  the  net,  319;  Consdentia  integra 
laurus,  422  ;  Consequitur  quodcimqiie 
petit,  3  ;  Consilio  &  virtute  chimceram 
superari,  &c. ,  299 ;  Constantia  comes 
victorice,  436 ;  Contraria  industries  ac 
desidice  prcemia,  148  ;  Cosi  troppo  piacer 
conduce  a  morte,  153  ;  Cosi  vivo  piacer 
conduce  a  morte,  151  ;  Creatione  et  con- 
fusione  del  mondo,  35  ;  Creavit  dominus 
novum  super  terrain,  &c.,  47  ;  Cuciillus 
non  facit  monachum,  138  ;  Cum  larvis 
noil  Inctandiim,  305  ;  Ciiriositasfugienda, 
267. 

3.  Calendrier  et  compost  des  bergers,  1705, 
p.  42. 

Callimachus,  Pcrjuria  ridet  amantum,  328. 
Cambridge    Works   of  Shakespeare,    1863, 

1866,  p.  157. 

Centifolium  sttillorum,  1707,  p.  33. 
Chaucer,  use  of  the  word  Emblem,  7. 
Chrysostom,  God  loved  and  hated  in  man, 

281. 

Cicero,  use  of  the  word  Emblem,  5. 
Collier,  J.  Payne,  Phoenix*  nest,  1593, 

reprint,  380. 

Cotgrave's  Dictionary,  Emblema  I. 
Cowden  Clarke's  Concordance,  388. 
Cudworth's  Intellectual  System,  ed.  1678, 

pp.  2,  103. 
Cullum,  Sir  John,  History  and  antiquities 

of  Hawsted,  1813,  p.  127. 

4.  Cadmus,  alluded  to  in  Rich.  II.,  245. 
Calcott,  Lady,  account  of  the  seven  ages 

of  man  inlaid  on  the  pavement,  Siena, 
407. 

Calumny,  Shakespeare,  434. 

Camel  and  his  driver,  283. 

Camerarius,  quoted  for, — Butterfly  and 
candle,  151;  Dog  and  moon,  270; 
Eagle  renewing  youth,  369  ;  Elm  and 
vine,  307  ;  Falconry,  366 ;  Jackdaw  in 
fine  feathers,  312  ;  Laurel  and  lightning, 


423  j  Ostrich,  234 ;  Pelican,  394 ;  Stag 
wounded,  398;  Swan,  217;  Turkey  and 
cock,  357  ;  Unicorn,  372  ;  Wheat 
among  bones,  184  ;  Wreaths  on  a  spear, 
223. 
Cannon  bursting,  Beza  and  Shakespeare, 

344- 
Casket    scenes,    emblematical,    149 — 154, 

186. 

Cassius  and  Caesar  in  the  Tiber,  193. 
Cervantes  and  Shakespeare  died  in  1616, 

3i8. 
Chaos,     Ovid,     Symeoni,     448  ;     Aneau, 

Whitney,  449,  450;  Shakespeare,  451, 

453- 
Charles  I.,  his  fine  collection  of  paintings, 

in. 
Charles    V.    emperor,    the    Tewrdannckh 

dedicated  to  him  in  1517,  p.  68. 
Chatterton,  Dr.,  on  choice  of  a  wife,  210. 
Chess,    emb.  of  life   and   equality  in   the 

grave,  Perriere,  320;  Corrozet,  321. 
Child  and  motley-fool,  Whitney,  Sambu- 

cus,    484;    Shakespeare,    485;    Drant, 

486. 
Chivalry,  wreath  of,  Paradin,  Shakespeare, 

169. 

Cholmeley,  knight,  Sir  Hughe,  320. 
Christian  art,  fulness  of  its  emblems,  26. 
Christian  love,  the  soul,  and  Christ,  Plate 

IL,  32. 
Circe,    Alciat,    250 ;    Whitney,    Horace, 

Reusner,  251  ;  Shakespeare,  252. 
Classification  of  the  correspondencies  and 

parallelisms,  187. 
Cliffords,  father  and  son,  192. 
Clip  the  anvil  of  my  sword,  Shakespeare, 

325 ;     Perriere,     326 ;     Whitney,     and 

meaning,  327. 

Closet  adorned  with  emblems,  127. 
Coats  of  arms,  often  imaginative,  236. 
Coincidences  of  Whitney  and  Shakespeare 

in  the  use  of  words,  478,  479,  497 — 514. 
Coincidences  and  parallelisms  in  heraldic 

emblems,  240. 

Coins  and  medals  often  emblematical,  13. 
Columbus,  tribulations  on  marble,  461. 
Commonwealth    of    bees,    Whitney    and 

Shakespeare,  361 — 365. 
Compress,  difficulty  to,  101. 


548 


GENERAL    INDEX. 


Conclusion,   Shakespeare   acquainted  with 

Emblem-books,  495. 
Confidence  kept  back,  Shakespeare,  434. 
Conscience,     power     of,     Horace,     420 ; 

Vsenius,    421  ;    Shakespeare,    421,  424, 

425- 
Coornhert's  device  of  Providence  making 

poor  and  making  rich,  Plate  XVI. ,  489. 
Coriolanus,  2OI  ;  his  civic  crowns,  225. 
Coronation  scene,  Anne  Bullen's,  9. 
Correspondence   of  Whitney  and   Shake- 
speare in  words,  477—479,  497—514. 
Corrozet,    quoted,    Butterfly   and    candle, 

152  ;    Chess,   321  ;   Doves   and   Cupid, 

245  ;  Fortune,  261  ;  Gem  in  gold,  418  ; 

Hydra,    374  ;    Icarus,    289 ;    Sun    and 

wind,  165. 
Corser   of  Stand,    Rev.    T.,    Historia    S. 

Joan,  sold  for  4157.,  p.  49  ;   De  Sole  et 

Luna,  52  ;  Figures  du  vieil  Test,  et  du 

nouuel,    63  ;    Alciat    of    1531,    p.    69  ; 

Dance  of  Death,   71  ;  Crosse  his  covert, 

MS.,  100. 
Cotton,  Richard,  Esquier,  of  Combemiere, 

1586,  p.  360. 
Countryman  and  serpent,  Freitag,  Reusner, 

197  ;  Shakespeare,  198. 
Coustau,  Camel  and  driver,  283  ;  Silence, 

209;  Orpheus,  271;  Ruins  and  writings, 

442. 

Crab  and  butterfly,  Symeoni,  15. 
Creation  and  confusion,  Ovid,  Plate  III., 

35- 

Crescent  moon,  Giovio,  125,  127. 

Crests  of  ancient  times,  14—16. 

Crowns,  civic  and  others,  221,  224. 

Cupid  felling  a  tree,  324 ;  Blinded,  Perriere 
and  Shakespeare,  329,  331  ;  and  Bear, 
Boissard,  349  ;  Tronus  Cupidinis,  348  ; 
Cupid  and  Death,  Alciat,  400  ;  Whit- 
ney, 401 ;  Haechtan,  400 ;  Peacham,  403  ; 
Cupid  in  mid-air,  Shakespeare,  404. 

Curtius,  a  silver  emblem  ornament,  5. 

Custom,  a  guide  for  Emblems,  37. 


D, 

\.DanceofDeath.     See  Holbein. 
Pause  Macabre,  ed.  1485,  p.  56, 


Dalle  Torre,  Dialogo,  1598,  p.  92. 
Daniell,    Worthy  Tract  of  Paulus  louius, 

1585,  P-  77- 

David,  Virtutis  spectacuhim,  1597  ;  Veri- 
dicus  christianus,  1601  ;  Christeliicke, 
1603  ;  Occasio  arrepta,  neglecta,  1605  ; 
Pancarpiurn  marianum,  1607 ;  Messis 
myrrhce  et  aromatum,  1607  ;  Paradisus 
sponsi  et  sponsce,  1607  ;  Duodecim  spe- 
cula, 1610,  p.  95  ;  Occasio,  quoted  in 
illustration,  Plate  XII.,  265. 

Daza  Pinciano,  Alciat  in  Spanish,  1549, 
p.  70. 

De  Bry,  T.,  Stam  und  ivapenbuch,  1593, 
p.  32  ;  Emb.  nobilitate  et  vulgo  scitu 
digna,  1592,  and  Emblemata  secularia, 
I593>  P-  945  Emb.  sec. — rhythmis  Ger- 
manicis,  1596,  p.  97  ;  Poiirtraict  de  la 
cosmog.  morale,  1614,  p.  94. 

De  la  Perriere,  Theatre  des  bons  engins, 
1539  ;  Les  cent  considerations  a? amour, 
1543  j  Les  considerations  des  quatre 
mondes,  1552;  La  Morosophie,  1553, 
p.  74. 

De  Montenay,  Embttmes  ou  devises  chres- 
tiennes,  1574,  pp.  87,  88. 

De  Passe,  96 ;  Metamorphosecan  Otiid.,  1602, 
P-  95  >  Specuhim  heroicum  —  Homeri, 

1613,  p.  36  ;  Original  drawings  at  Keir, 
about  1600,   p.   177;   Quoted,  Phaeton, 
284 ;  Daphne,  296  ;  Tromis  Cupidinis, 
348. 

Derendel,    History 'ke    Portreatiires,     1553, 

PP-  73,  119- 
De   Romieu,    Le  Pegme    de   P.    Covstav, 

1560,  p.  77- 
De    Soto,    Emblemas    moralizadas,    1599, 

p.  99. 
Desprez,   Theatre  des  animaux,  &c. ,   1595, 

P-  93- 
Destructoriii    vitiorum    (Dyalog.     Great. \ 

1509,  p.  52. 
Dialoges  of  creatures  moralyzed,  1520,  pp. 

52,  119,  303. 
Dinet,     Les    cinq    livres    des    hieroglyph., 

1614,  p.  94. 

Dolce,  Le  prime  imprese  del  conte  Orlando, 

1572  ;  Dialogo,  1575,  p.  86. 
Domenichi,    Ragionamento,     1556,     1574, 

pp.  77,  78. 


GENERAL    INDEX. 


549 


Doni,    /  mondi ;    I  marmi ;    La    moral 

filosofia,  1552,  1553,  p.  76. 
Droyn,   La  grdt  nef  des  folz,   1498,   1579, 

PP-  57,  87. 

Dupont,  Satyriques  grotesques,  1513,  p.  67. 
Durer,  Ehrenpforte,    I5J5  >   Tewrdannckh, 

1517  5  an<i  Triumphwagen,  1522,  p.  67. 
Dutch  Emblem-books,  passim,  and  90,  97. 
Duvet,  L  apocalypse  figuree,  1561,  p.  81. 
Dyalogus  creaturarum,  1480^.51;  French 

ed.  1482,  English,  1520,  p.  51. 

2.  Dabit  Deus  his  quoque  Jinem,  124;  De- 
deritne  viam  Casusve  Dcttsve,  1 23  ;  De- 
fecit  in  dolor e  vita  mea,  &c.,  131  ;   De 

more  et  amore,  401 ;  De  Morte  et  Cupidine, 
403  ;  Descendct  dominus  sicnt  pidvia  in 
•vellus,  47;  Despicit  alta  cants,  270; 
Dives  indoctus,  229  ;  Divesque  miscrqtie, 
31  ;  D.  O.  M.,  464 ;  Dominns  tecum 
virorum  fortissimc,  47  ;  Dominus  vivit  et 
videbit,  416  ;  Donee  totitm  impleat  orbem, 
123,  127  ;  Diun  cetatis  ver  agitur,  consule 
brumcc,  148  ;  DTIHI  teinpus  labitur,  occa- 
sionem  fronte  capillatam  remorantur, 
265;  Dum  transis,  time,  128;  Durate 
et  vosmct  rebus  servate  sectindis,  125. 

3.  De  Bry,  Icones  virorum  illustrum,  85. 
De  la  Perriere,   quoted  for, — Chess  emb. 

of  life,  320  ;  Cupid  blinded  and  sieve, 
329 ;  Diligence,  145  ;  Fardel,  495 ; 
Janus,  140 ;  Occasion,  258  ;  Sword 
broken  on  anvil,  326  ;  Thorns  on  the 
rose,  332. 

Democritus,  Golden  sentences,  13. 

De  Montenay,  quoted,  Adam  hiding,  416 ; 
Fearlessness,  440;  Good  out  of  evil, 

447- 

Dibdin,  Bibliographical  Antiquarian,  58  ; 
Bibliomania,  51,  137  ;  Bibliogr,  Deca- 
meron, 45  ;  Bibliotheca  Spenseriana,  48  ; 
Tour,  57. 

Diet.  Greek  and  Roman  Antiquities,  2O. 

Diodorus  Siculus,  History,  20. 

Donne,  Elegy,  Flowers,  18. 

Dore,  Drawings  for  Elaine,  30. 

Douce,  Dissertation,  ed.  1833,  pp.  56,  71  ; 
Remarks  on  Macaber,  56  ;  Illustrations 
of  Shakspeare  and  of  Ancient  JManiu'rs, 


1807,  pp.  106,  167,  172  ;  Holbein's 
Images,  ed.  1858,  p.  121. 

Drake,  Shakspeare  and  his  Times,  106,  107, 
238 ;  on  Falconry,  365  ;  Timon  of  Athens, 
426. 

Drant,  Horace's  Art  of  Poetry,  1567,  p.  486. 

Drayton,  Barorfs  Wars,  1598,  names, 
emblems,  impresas,  hieroglyphics,  132. 

Drummond,  History  of  Scotland,  1655,  p. 
123  ;  Letter  to  Benjamin  Johnson,  Em- 
blems on  a  bed  of  state,  123—125  ;  Other 
letters  naming  devices  or  emblems,  124. 

Dryden's  opinion  of  the  Pericles,  157. 

Dugdale,  Antiq.  of  Warwickshire,  237. 

Du  Vondel,  illustrious  poet  of  Holland,  98. 

4.  Daphne  to  a  laurel,  Aneau,  Ovid,  296 ; 

Shakespeare,  297. 
Death,  its  mention  by  Shakespeare,  339, 

469. 

Death  and  sleep,  469 — 471. 
Death's  praises, — life's  evils,  471- 
Dedalus  and  his  sons,  287. 
Diana,  emblem  and  symbol  in  one,  3. 
Diana  of  Poitiers,  dedication  to,  3,  1 72. 
Dice  an  emblem  of  life,  Le  Bey  de  Batilly, 

322. 
Diligence    and    idleness, — Perriere,    145  ; 

Whitney,   146 ;  not  followed  by  Shake- 
speare, 147. 
Direct  References  to  Emblems,  six  in  the 

Pericles,  156—188. 
Di  Terra  Nova,  Duke,  emblem,  125. 
Division  into  three  parts  of  Emblem-books, 

from  1500  to  1564,  p.  60  ;  into  two  parts, 

from  1564  to  1615,  p.  84. 
Dog  baying   the  moon,  Shakespeare   and 

Alciat,  269 ;  Whitney  and  Camerarius, 

270  ;  Beza,  271. 
Dogs   not   praised   by   Shakespeare,    145, 

483- 
Dolphin  and  anchor,  Symeoni  arid  Giovio, 

1 6  ;    The   device  of  Titus,   and  of  the 

Aldi,  1 6. 
D.  O.  M.,  Whitney  and  Shakespeare,  464, 

465- 

Doubtful  if  certain  books  are  Emblem- 
books,  51,  55. 

Doves  and  winged  Cupids,  Shakespeare 
and  Corrozet,  245. 


55° 


GENERAL    INDEX. 


Drake,  Sir  Francis,  compared  to  Jason, 
229. 

Drake's  ship,  Whitney,  413 ;  Shake- 
speare, 414. 

Drawing  and  device  or  emblem,  their  dif- 
ference, 49. 

Drinking  bout  of  Antony  and  his  friends, 
246. 

Droppes  manie  pierce  the  stone,  &c., 
Whitney,  324  ;  Shakespeare  and  Vaenius, 

324- 

Dudley,  Ambrose,  earl  of  Warwick,  died 
1589,  p.  238. 

Dudley,  Robert,  earl  of  Leycester,  died 
1588,  p.  238;  Whitney's  Emblems  dedi- 
cated to  him,  239. 

Dupes  emblematised,  33. 

Dust,  to  write  in,  Sir  T.  More,  461  ; 
Shakespeare,  460,  461. 


E. 

E,  O.  L.  of  uncertain  origin,  241  ;  O.  L. 
from  Plato's  works,  710;  Francfort, 
1602,  p.  346;  O.L.,~Dial.  of  Creatures •, 
62,  ed.  1520,  p.  463. 

1.  Ecatonphyla,    1491,    centiesme  amour, 

1536,  p.  55. 
Ehrenpforte,  or  triumphal  arch,  about  1515, 

p.  67. 
Emb.    Amat.,    Afbeeldinghen,    1611,    p. 

98. 
Emblemata  Evang.  ad  XII.  signa,   1585, 

p.  88. 
Emblesmes  sur  les  actions — du  Segnor  Es- 

pagnol,  1608,  p.  93. 
Emblematum    Philomilce    Thilonice    Epi- 

digma,  1603,  p.  95. 

Emblem-books,    in   the   tabulated   forms, 
86—99  :— 

Dutch  or  Flemish,  1585,  p.  90;  1603 — 
1614,  pp.  97,  98. 

English,  1569 — 1586,  p.  91;  1591—1612, 
p.  99. 

French,  1568 — 1588,  p.  87;  1595—1614, 

PP-  93.  94- 

German,    1576— 1590,    p.   90;    1596— 
1611,  p.  97- 


Emblem-books— continued. 

Italian,  1566—1589,  pp.  86,  87  ;  1592  — 

1609,  p.  92. 
Latin,  1568 — 1590,  pp.  88,  89;    1591  — 

1615,  pp.  94,  95. 

Spanish,    1575  — 1589,    p.    90  ;    1599— 
1615,  p.  99. 

Emblem-books,  in  Greek  ;  Tablet  of  Cebes, 
B.C.  390,  pp.  12,  68  ;  Clemens  of  Alex- 
andria, about  A.D.  300,  Stromata,  21  ; 
Epiphanius,  A.D.  367,  p.  28;  Horapollo, 
originally  Egyptian,  about  A.D.  400,  p. 
22 ;  translated  into  Greek  by  Philip, 
about  A.D.  550,  p.  22. 

English  Emblem-books  down  to  Willet, 
1598,  p.  119;  passim,  91,  99—101. 

Epiphanius,  A.D.  367,  Physiologns,  1587, 
p.  28. 

Estienne,  Henri,  Anthologia gnomica,  1579, 
pp.  88,  89. 

2.  Eadem    inter    se,    384 ;    Ecce,    anrilla 
domini,  fiat  mihi,  46 ;  Ecce  ascendimus 
Hierosolimam,    66 ;    Ecce  virgo  concipiet 
et  pariet  filium,   46  ;    Ei  qui  scmel  sua 
prodegerit,  aliena  credi  non  oportere,  189  ; 
E?|os  j/t/co,   314;    Eloquentia  fortitudine 
prcestantior,    164  ;  Eloquium  tot  luniina 
clausit,   123  ;  En  ma  Jin  git  man  com- 
mencement, 123  ;  Erant  signa  in  sole  et 
hma,  48  ;  Esto  tiene  su  remedio  y  non  yo, 
398  ;  Ex  domino  servus,  276  ;  Ex  malo 
boimm,    447  ;    Ex  maxima  minimum, 
337- 

3.  Engravers,  named,  and  referred  to  : — 
Amman,  Jost,  1564,  pp.  74,  85. 
Avibus,  Gaspar  ab,  1558,  p.  80. 
Bernard,  Solomon,  1560,  pp.  36,  73. 
Bewick,  Thomas,  1789,  p.  71. 
Boissart,  Robert,  1590,  p.  94. 
Bonasone,  Giulio,  1555,  p.  77. 

De  Bry,  Theodore,  1592,  pp.  96,  348. 

,,         John  Theod.,  p.  96. 

,,         John  Israel,  p.  96. 
De  Hondt,  Jost,  1606,  p.  98. 
De  Hooghe,  Romyn,  1670,  p.  13. 
De  Jode,  Gerard,  1584,  p.  53. 
De  Passe,  Crispin,  1611,  pp.  95,  97,  also 

PP-  57,  177- 


GENERAL    INDEX. 


Engravers — continued. 

Durer,  Albert,  1509,  pp.  65,  67,  73. 

Duvet,  John,  1561,  p.  81. 

Feyrabend,  Sigismund,  about  1581,  p.  90. 

Fortoul,  1832,  p.  71. 

Holbein,  Hans,  1538,  pp.  71,  72. 

Koster,  Laurens,  1410,  p.  46. 

Liitzenberge,  Hans,  1538,  P-  72< 

Marcolini,  Ant.  Franc.,  1552,  p.  76. 

Pytheus,  named  by  Pliny,  5. 

Raimondi,  Marc  Ant.,  1516,  p.  67. 

Sadeler,  ^Egidius,  1600,  pp.  96,  98. 

Sadeler,  John,  96. 

Sadeler,  Raphael,  96. 

Schlotthauer  (Dance  of  Death],    1832, 
p.  71. 

Shaeufflein,  Hans,  1517,  p.  67. 

Solis,  Virgil,  1555,  p.  77;  1560,  p.  74. 

Stimmer,  Tobias,  1576,  p.  90. 

Stimmer,  John  Chr.,  1591,  p.  90. 

Van  der  Borcht,  1591,  p.  95. 

Van  Veen,  or  Vaenius,  Otho,  1607,  p.  96. 

Van  Veen,  Gilbert,  1607,  p.  96. 

Veneziano,  Zoan  And.,  1500,  p.  55. 
Eschenburg's    Manual   class,    lit.,     1844, 

pp.  7,  224. 

4.    Eagle  renewing  its  youth,  Camerarius, 

368  ;  Shakespeare,  369,  370. 
Edward  VI.,  Emblem-books  belonging  to 

him,  121. 
Egerton,    Lord   Chancellor,    and   Thomas 

Wilbraham,  467. 
Elephant  and  undermined  tree,  Sambucus 

and  Whitney,  196. 

Elizabeth,    Queen,    devices,    124;    prayer- 
book,  137  ;  lottery,  208  ;  phoenix,  390  ; 

flattered  by  Shakespeare,  404. 
Elm  and  vine,   Alciat  and  Boissard,  307  ; 

Whitney  and  Camerarius,  308  ;  Vaenius 

and  Shakespeare,  309. 
"E/j.fi\e(J.a,  eVjSaAAeTi',  pp.  4,  5,  6. 
Emblem  defined,  Cotgrave,   Quarles,  and 

Bacon,  I  ;  Whitney,  6  ;  Shakespeare,  9 ; 

origin,  9  ;  definition  seldom  strictly  ob- 
served, 30. 
Emblems,  original  meaning,  4 ;  Chaucer, 

7  ;  kept  by  Shakespeare  and  Milton,  9  ; 

changes   of  meaning,   4  ;    classical   and 

modern  meaning,  4,  5>  II- 


Emblem  and  Symbol,  confounded,  I  ;  dif- 
ference, 2  ;  united,  2,  3  ;  affinity  of,  6. 

Emblem,  the  word  introduced  into  Latin, 
5  ;  opposed  by  Tiberius,  5  ;  used  by 
Cicero  and  Quinctilian,  5. 

Emblema  nudum,  or  bare,  without  a  device 
or  picture,  13,  51;  in  Shakespeare,  149 

—  154- 

Emblem  Artists  and  Artificers,  5,  20.  See 
also  Engravers. 

Emblem  Authors,  number  before  1616,  p. 
102  ;  men  of  literature  and  mental 
power,  102  ;  estimate  in  which  they  were 
held,  103  ;  introduce  fables,  303. 

Emblem-books  our  theme,  II  ;  preceded 
by  writings,  119  ;  three  large  collections, 
accessible  for  this  work,  at  Keir,  Stand, 
and  Thingwall ;  86  ;  number  composed 
from  1564  to  1590,  pp.  91,  92  ;  number 
of  original  texts  and  versions,  770,  before 
1616,  p.  1 02  ;  illuminated  MS.,  38 — 45, 
50  ;  block  books,  46 — 50. 

Emblem  Literature, — applied  with  great 
latitude ;  what  appears  essential  to  it, 
31  ;  Instances:  proverbs  and  witty  say- 
ings, scenes  from  history,  armorial  bear- 
ings, 31  ;  celebration  of  events,  devotion 
and  satire,  32,  33  ;  politics,  34  ;  classic 
poets,  34 — 36;  great  latitude  in  using 
the  phrase,  Emblem  Literature,  custom 
the  general  guide,  37  ;  includes  orna- 
mental devices  in  books,  38 ;  architec- 
ture, sculpture,  and  painting  too  ex- 
tensive to  be  included,  38  ;  known  in 
Britain,  119 — 137;  bed  of  state,  with 
emblems  wrought  by  Mary,  Queen  of 
Scots,  123—125  ;  ancient  bed  at  Hinck- 
ley,  126 ;  painted  closet  at  Hawsted, 
127— 130  ;  ancient  hall  at  Lower  Tabley, 
131 ;  Drayton's  testimony,  1598,  p.  132. 

Emblems, — raised  or  carved  figures  and 
designs,  a  crust  or  framework,  a  mosaic, 
figured  ornaments,  9,  10 ;  devices  on 
smooth  surfaces ;  any  drawing  representa- 
tive of  thought,  character,  &c. ;  a  species 
of  hieroglyphics,  11  ;  coins  and  medals, 
13;  heraldry,  14—17;  signs,  17—19; 
fictile  ornamentation,  19,  20  ;  works  by 
the  silversmith,  20;  hieroglyphics,  21 — 
26  ;  Christian  art,  26,  27. 


552 


GENERAL    INDEX, 


Emblems  classified— by  Whitney  into  three 
kinds,  187  ;  for  this  work  into  eight 
divisions,  1 88  :— historical,  188—211; 
heraldic,  212—240;  mythological,  241  — 
301;  for  fables,  302 — 317;  for  proverbs, 
318 — 345  ;  for  objects  in  nature,  346 — 
376;  for  poetic  ideas,  377 — 410;  moral 
and  aesthetic,  411—462;  miscellaneous, 
463-496. 

Emperors  : — Maximilian  I.,  1517,  pp.  67, 
68;  Charles  V.,  1517,  p.  68  ;  Maxi- 
milian II.,  1564,  p.  85  ;  Rodolph  II., 
J576>  PP-  85>  89,  96  ;  Matthias,  and 
Ferdinand  II.,  96. 

End  crowns  all  ;  or  the  end  makes  all 
equal,  Shakespeare,  Messin,  Whitney, 
Perriere,  320 ;  Illustrated  by  chess,  Per- 
riere,  320;  Corrozet,  321,  322  ;  Whitney 
and  Shakespeare,  323. 

Engineer  hoist  with  his  own  petar,  from 
Beza  and  Le  Bey  de  Batilly,  344 ; 
Shakespeare,  345. 

Envy,  from  Whitney,  Alciat,  431,  432  ; 
Shakespeare,  433. 

Estridge,  ostrich,  or  falcon?  Paradin,  370; 
Shakespeare,  371. 

Eternity,  emblem  of,  37  ;  in  Plate  XVII., 
491 ;  Horapollo,~49i ;  Shakespeare,  492. 


F. 

F,    0.  L.,  Nef  des  foh,  Paris,  1499,  xxv., 
p.  vii. 

1.     Fables,    German,    about  1400,  p.   50. 

See  Boner. 
Fabrici,  Delle  allusioni,  imprese  &*  emblemi, 

1588,  p.  87. 
Faerno,  Fabvla  centvm,  1565,  pp.  85,  303, 

310,  311  ;  quoted,  Fox  and  grapes,  311. 
Farra,  Settenario  del?  httmana  riduttione, 

1571,  PP-  79,  86. 
Feyrabend,    Stam   und  ivapcnbnch,    1579, 

p.  90. 

Figu  res  du  vieil  Test.  &>  du  nouuel,  1 5  03 ,  p .  63 . 
Figures  of  the  Bible,  73. 
Fiorino,  Opera  nuova,  &c.,  1577,  p.  86. 
Flemish  books  of  emblems,  passim,   and, 

90,  97. 


Franceschino,  Hori  Apollinis  selecta  hiero- 

glyphica,  1597,  p.  94. 
Fraunce,  Tnsignium  arniorum  emblematum, 

&c.,  1588,  p.  89. 
Freitag,   Mythologia  ethica,    I579;    p.    88 ; 

Viridiarium  mor.  phil.per  fabulas,  1594, 

p.  94. 
Frellonius,    Holbein's   Historiarum    veteris 

instrument!,  1547,  p.  72. 
French  Emblem-books,  passim,  and,  87,93. 
Furmerus,  De  rerum  usu  et  alnisu,  1575,  p. 

88  ;  Hands  of  Providence,  Plate  XVI., 

489. 

2.  Facunda  senectus,  215  ;  Faire  tout  par 
moyen,     289  ;     Fatuis    levia    commitito, 
484  ;    Feriunt  summos  fulgura  mantes, 
475  ;  Festina  lente,  15  ;   Fie  fa  ejus  quod 
haberi  nequit  recusatio,  310 ;  Finis  corona t 
opus,  437  ;  Fortiter  et  feliciler,  221  ;  For- 
titiido  ejus  Rhodtim  tenuit,  124  ;  Fortuna 
virtidem  superans,  202  ;  Fortuna;  comites, 
124;     Frons    hominem    prafert,     129  ; 
Fronte  nulla  fides,  129  ;  Fmctus  calcata 
dat  amplos,  124;  Frustra,  329,  331. 

3.  Farmer,  Dr.,  on  Pericles,  156. 
Flintner,  Nebulo  nebulonum,  1620,  p.  65. 
Freitag,  quoted  for, — Mouse  caught  by  an 

oyster,  130  ;  Ants  and  grasshopper,  148; 
Countryman  and  serpent,  197  ;  Fox  and 
grapes,  309;  Phoenix,  381  ;  Sun,  wind, 
and  traveller,  166 ;  Turkeycock  and 
cock,  356. 

4.  Fables  :    doubtful  if  strictly  emblems, 
5  r  ;  The  best  emblem  writers  introduce 
them,    303  ;  A  floating  literature,  inter- 
changed   throughout    the    world,     302 ; 
Shakespeare's  estimation  of  them,  303  ; 
Early  editions,  303. 

Fables,  emblems  illustrative  of,  302 — 317  ; 
Fly  and  candle,  151—153;  Sun,  wind, 
and  traveller,  164—167;  Elephant  and 
tree,  196  ;  Countryman  and  serpent, 
197  ;  Hares  biting  the  dead  lion,  304 — 
306 ;  Elm  and  vine,  or  elm  and  ivy,  307 — 
309  ;  Fox  and  grapes,  309—312  ;  Jack- 
daw in  fine  feathers,  312—314;  Oak  and 
reed,  314—316. 


GENERAL    INDEX. 


553 


Facts  in  Nature,  emblems  from,  and  from 
the  properties  of  animals,  346 — 376  : — 
Frosty  Caucasus,  346  ;  Adamant  on  the 
anvil  indestructible,  347;  Bear,  cub,  and 
Cupid — natural  affection,  348 — 350  ;  The 
inhabited,  or  three-cornered  world,  351 — 
353;  Signs  of  the  zodiac,  353~356; 
The  cock  and  turkeycock,  356—358  ; 
The  vulture,  358  ;  Bees,  types  of  a  well 
governed  people,  and  of  love  for  our 
native  land,  358 — 365  ;  Falconry,  365 
— 368 ;  Eagle  renewing  its  feathers, 
368  ;  Ostrich  with  outspread  wings, 
370;  Unicorn,  type  of  faith  undefiled, 
371—373;  Hydra  slain  by  Hercules,  373 
— 375  >  Various  animals  named,  375, 376. 

Falconry,  from  Dr.  Drake,  365  ;  Camera- 
rius  and  Giovio,  366 ;  Shakespeare,  367, 
368. 

Fame  armed  with  a  pen,  from  Junius  and 
Whitney,  445,  446 ;  Shakespeare,  444, 

445- 

Fardel  on  a  swimmer,  480,  481. 

Ferdinand  II. ,  emperor,  96. 

Fictile  ornamentation,  19,  20. 

Fin  couronne  les  ceuvres,  from  Shakespeare, 
320 — 323.  See  End. 

Firmin  Didot,  40. 

Flower  language,  emblematical,  18. 

Fly  and  candle.     See  Btitterfly. 

Forehead,  index  of  the  mind,  129. 

Fortune,  from  Corrozet,  261.  See  Occa- 
sion. 

Fox  and  grapes,  from  Freitag,  310 ;  Faerni, 
310;  Whitney,  311  ;  Shakespeare,  311, 
312. 

Francis  I.,  impresa,  123,  125,  126. 

Friendship  after  death,  307.  See  Elm  and 
Vine. 

Frosty  Caucasus,  346. 


G. 

G,    0.    L.,  an  altered  C,   from  Linacre's 
Galen,  Paris,  1538,  p.  543. 

1.  Ganda.     See  A  Ganda. 
German  Emblem-books,  passim,  and,  90, 
97- 


Geschlechtes    Buck,    editions    1550,     1580, 

P-  75- 

Geyler,  Navictila  sive  speculum  fatuorum, 
1511,  and  Navicula  penitentice,  1511, 
several  reprints  before  1520, — the  first 
book  with  the  imperial  privilege,  66  ; 
Two  German  translations,  66 ;  Latin 
version  of  Narren  Schyf,  1498,  p.  66. 

Giovio,  Dialogo  delF  imprese,  or  Ragio- 
namento,  1555,  p.  77;  1574,  pp.  14,  15, 
1 6  ;  English  version,  1585,  p.  77  ;  Me- 
nestrier,  79. 

Giovio,  Symeoni,  and  Domenichi,  Dialogo 
deir  imprese,  &c.,  1574,  p.  78  ;  Twenty- 
seven  editions  between  1553  and  1585, 
p.  78. 

Glissenti,  Discorsi  morali,  &c.,  1609, 
pp.  92,  93. 

Golding,  Ovid's  Metamorphoses,  1565, 
p.  243. 

Goulart,  Les  vrais pourtraits,  1581,  p.  87. 

Grapheus,  Entry  of  Philip  of  Spain,  1550, 

P.  75- 
Grevin,  Emblemes  d' Adrian  la  Jeune,  1568, 

p.  87. 

Guazzo,  Dialoghi piacevoli,  1585,  p.  87. 
Gueroult,  Premier  livre  des  emblemes,  I55°> 

P-  75- 
Guillim,  A  display  of  heraldry,   1611,  pp. 

99,  120. 

Gulden,  Den  gulden  winckel,  1613,  p.  98. 
Guzman,  Triumphas  morales,  I557>  P-  9a 

2.  Gang  fonvard ;     I  am    ready,    14  ; 
Giuramento  sparso  al  vento,  328. 

3.  Gale's  Opus  mythol,  13. 
Gentleman' 's  Magazine,  126,  208. 
German  book — the  first  in  pure  German, — 

a  book  of  fables  printed  in  1461,  p.  50. 
Giovio,  quoted  from, — Alciat's  device,  21 1; 

Atlas,  245  ;    Crescent  moon,   125,   127  ; 

Dolphin  and  anchor,  16;  Falconry,  365  ; 

Kingfisher,  392  ;  Ostrich  and  iron,  233  ; 

Phoenix,  235  ;  Salamander,  125,  126. 
Giovio  and  Symeoni,  quoted, — Porcupine, 

231  ;  Wrongs  on  marble,  457. 
Golding's  Ovid,  1567,  p.  243;  Shakespeare 

indebted  to  it,  243  ;  The  epithet  golden, 

400. 


554 


GENERAL    INDEX. 


Gough,  on  the  Bedford  missal,  1 794,  p.  44. 
Gower's  Conf.  am.  —pur  reposer,  7. 
Green's  Never  too  late,  1610,  p.  128. 

4.  Gem  in  a  ring  of  gold,  by  Corrozet, 
418  ;  Shakespeare,  419,  420. 

Gemini,  355. 

Geography,  350 — 353  ;  more  correct,  415. 

Glance  only,  at  times,  to  emblem  subjects 
by  Shakespeare,  269,  317. 

Glyptic  art  as  exemplified  in  hieroglyphics, 
21—26. 

Gold  on  the  touchstone,  by  Paradin,  175  ; 
Whitney,  178;  Crispin  de  Passe,  177; 
Shakespeare,  175,  180;  Vsenius,  179. 

Golden,  the  epithet,  Douce,  Sidney,  Gold- 
ing's  Ovid,  400  ;  Bellay,  Alciat,  400  ; 
Whitney,  401  ;  Peacham,  Whitney,  403 ; 
Shakespeare,  404. 

Golden  fleece,  order  of,  228. 

Gonsaga,  Hanibal,  saying  on  surrendering 
his  sword  and  himself,  138. 

Good  out  of  evil,  Shakespeare  and  Monte- 
nay,  447. 

Gravella,  Cardinal,  his  impresa,  125, 
note. 

Greatest  out  of  least,  from  Anulus,  337  ; 
Whitney,  338 ;  Shakespeare,  338,  339. 

Grecian  coins,  13. 


H. 

H,  0.  L.,  Nef  des  folz,  xv.,  Paris,  1499, 
p.  187  ;  Monogram,  H.G.,  a  construc- 
tion, preface,  xii. 

1.     Haller,     Chartiludium    logicce,     1507, 

p.  64. 

Held,  Alciat  in  German,  1542,  p.  70. 
Hesius,  Emblemata  sacra,  1581,  p.  88. 
Hillaire,    Speculum    Heroicum...    Homeri, 

1613,  pp.  36,  95- 
Historia  S.  Joan.  Euangelist. ,  block-book, 

1420,  p.  49 ;  MS.  of,  belonged  to  Henry 

IL,  49. 
Histories   of  Joseph,    Daniel,    Judith,  and 

Esther,  earliest  printed  book  with  text 

and  engravings,  1461,  p.  45. 
Hoffer's  Icones  catecheseos,  1560,  p.  81. 


Holbein,  Les  simulachres  &  Historiees 
faces  de  la  mort,  1538,  pp.  72,  350,  487  ; 
Previous  to  1600  at  least  fifteen  editions, 
72  ;  Historiarum  veteris  instrumenti 
icones,  1538,  p.  72;  Spanish,  ed.  1543, 
English,  ed.  1549,  within  the  century 
twelve  other  editions,  73  j  The  canoness 
or  nun,  469;  Sleep  and  death  compared, 
469,  470  ;  Wrong  done  to  the  soul, 
433  ;  Praises  of  death,  evils  of  life,  470, 
47 1  ;  The  last  judgment,  and  escutcheon 
of  death,  470. 

Hollar,  Dance  of  death,  1790,  p.  56. 

Homeri,  Speculum  heroicum.    See  Hillaire. 

Horapollo,  account  of,  22  ;  De  sacris  notis 
et  sculpturis,  1551,  example,  the  Phoenix, 
22,  23 ;  Other  examples  from  Leemans 
and  Cory,  24 — 26  (see  Leemans  and 
Cory}  ;  First  printed  edition  by  Aldus, 
1505,  Latin,  French,  Italian,  and  Ger- 
man, before  1535  ;  sixteen  other  editions 
before  1616,  p.  64. 

Horatii  Emblemata,  1607  and  1612,  p.  36. 

Horozco,  Emblemas  morales,  1589,  Sym- 
bolce  sacrce,  1 60 1,  p.  90. 

Hortinus,  Icones,  1585,  p.  88;  Emblemata 
sacra,  1589,  p.  89. 

Hortulus  rosarum,  1499,  P-  5& 

Hunger,  Alciat,  Cum  rhythmis  Germanicis 
versus,  1542,  p.  70. 

2 .  Heart  of  Jesus  the  well  of  everlasting  life, 
40 ;    Homines  voluptatibus  transforman- 
tur,  250;  Homo  homini  Deus,  283;  Homo 
homini  lupus,  280,  283  ;  His  ornari  aut 
mori,  222. 

3.  Haechtan's    Parvus    mundus,     1579, 
p.  400. 

Hallam,  on  Pericles,  157. 

Halliwell,    on    Astron.,    MS.,     Chetham 

Library,  42. 
Haslewood,  reprint  Dialogiies  of  Creatures, 

1 8 16,  p.  303. 

Hawkins'  H  HAPQENOS,  1633,  P-  3^3. 
Heraldry,  ornamental,  i6th  century,  1868, 

p.  14. 
Herodotus,    the   Scythian   arrow,    mouse, 

&c.,  1 8  ;  the  phoenix,  382. 
Hesiod,  shield  of  Hercules,  20. 


GENERAL    INDEX. 


555 


Hessells  on  Spelen  van  sinnen,  81,  82. 
Hippocrates,  Seven  ages  of  man,  406. 
Holbein's  Simulachres,  the  canoness,  469; 

Death  and  sleep,  469  ;    Death  and  fool, 

472. 
Holland's  Pliny,  a  work  of  art  by  Pytheus, 

to   be   put   on   or   taken   off, — a   literal 

Emblem,    5  ;    Hardnesse  of   a  diamant, 

348;  The  phoenix,  382 ;  Halcyones,  391. 
Homer,  Iliad,  shield  of  Achilles,  20 ;  Word 

Emblem  illustrated,  4  ;  Death  not  unbe- 
coming the  defender  of  his  country,  222; 

Insults    to    Hector's    dead   body,    304; 

Odyssey,  Circe,  250. 
Hood's     Miss    Kilmansegg,    to    illustrate 

"golden,"  403. 
Horace,  conscience,  420,  421  ;  Circe  and 

Sirens,  251  ;  Pine-trees  in  a  storm,  490  ; 

The  swan,  214;  Time  leading  the  seasons, 

490. 
Horapollo,  quoted,   Bees,  358 ;  Hawk  on 

mummy  case,  26  ;  Lamp  burning,  456  ; 

Phoenix,    23  ;    Star,    25  ;    Swan,    213 ; 

Thread  of  life,  454. 
Humphrey's  Hist,  of  art  of  printing,  1867, 

p.  43 ;    Plates  from  block-books,  Biblia 
pauperum,  43,  46  ;  Ars  memorandi,  45; 

Dance  of  death,  469. 

4.  Halcyon.     See  Kingfisher. 

Hands  of  Providence,  by  Furmer  and 
Coornhert,  Plate  XVI.,  489  ;  Shake- 
speare, 489. 

"  Happe  some  goulden  honie  brings," 
Whitney,  364  ;  Shakespeare,  365. 

Hares  biting  a  dead  lion,  Iliad,  Alciat, 
Shakespeare,  304 ;  Alciat,  Whitney, 
305  ;  Reusner,  306  ;  Shakespeare,  306. 

Harpocrates,  Silence,  Whitney,  208  ;  Peg- 
ma,  209.  See  Lottery. 

Hawk  on  a  mummy  case,  its  meaning,  26. 

Hawsted  and  Hardwick,  emblems  there, 
127 — 130. 

Hen  eating  her  own  eggs,  Whitney,  Sam- 
bucus,  411  ;  Shakespeare,  412. 

Henry  II.  of  England,  50. 

Henry  II.  of  France,  his  impresa,  123,  125, 
127. 

Henry  VIII. ,  collection  of  pictures,  in, 
114;  his  impresa,  124. 


Heraldic   Emblems,    212 — 240  ;     in  three 
divisions  : — 

I.  Poetic  Heraldry,  212—221  :— The  swan 
singing  at  death,  Horapollo,  213;  Virgil, 
Horace,    Pindar,    Anacreon,    214 ;    On 
death    poets   take   the   form   of  swans, 
Ovid,     Plato,     214;    type    of   old    age 
eloquent,  Aneau,  215  ;  of  the  simplicity 
of  truth,  Reusner,  215  ;  fine  thought  by 
Camerarius,    217  ;     insignia    of   poets, 
Alciat  and  Whitney,  218  ;  Shakespeare 
combines  various  of  these  emblems,  or 
of  their  spirit,  219 — 221;  Shakespeare's 
beautiful  comparison  of  heraldry,  221. 

II.  Heraldry  of  Reward  for  heroic  achieve- 
ments, 221 — 230: — Wreath  of  chivalry, 
Whitney,  Camerarius,  222 ;  Shakespeare, 
223  ;     Victors'    crowns,    Paradin,    224 ; 
Eschenburg,    224  ;    Shakespeare,  225 — 
227;    Honours  from  sovereign  princes, 
Shakespeare,  Talbot,  226  ;  Order  of  St. 
Michael,    Paradin,   227;    Order  of  the 
golden  fleece,  Paradin,  228  ;  Argonauts, 
Whitney,    229 ;    Phrixus,    Alciat,    229  ; 
Whitney,  230  ;  Beza,  230  ;  Shakespeare, 
230. 

III.  Imaginative  Devices,  231 — 240:— Por- 
cupine, Giovio,  231  ;  Camerarius,  232  ; 
Shakespeare,    232  ;    Ostrich    and  iron, 
Giovio,   233  ;  Camerarius,  234;  Shake- 
speare,   234 ;     Phoenix,    Lady   Bona  of 
Savoy,     Paradin,     234 ;     Giovio,     235  ; 
Shakespeare,    236 ;     Bear    and    ragged 
staff,    Whitney,    236  ;     Dugdale,    237  ; 
Dudley,  238  ;  Shakespeare,  239. 

Heraldry,  Emblems  its  language,  14,  17, 
82  ;  Its  close  connection  with  Emblems, 
212  ;  Beautiful  comparison  from,  220. 

Heraldry  of  poetry,  212 — 221. 

Heraldry  of  heroic  achievements,  221— 
230. 

Heraldry  of  imaginative  devices,  231. 

Hercules,  his  shield,  20. 

Hieroglyphics,  their  emblem  character,  21, 
25;  Subjects,  21,  26;  Examples,  24,  26; 
Meanings  of  several,  26. 

Hinckley,  bed  at,  with  emblems,  126, 
127. 


556 


GENERAL    INDEX. 


Historical  Emblems,  188 — 211  : — Medeia, 
Alciat,  Whitney,  189,  190;  ^Eneas  and 
Anchises,  Alciat  and  Whitney,  191, 
192;  Shakespeare,  192;  Progne,  Aneau, 
Shakespeare,  193,  194;  Sinon,  illustrated 
from  Brasidas  and  his  shield,  Aneau,  194; 
Whitney,  195  ;  The  elephant  and  under- 
mined tree,  Sambucus,  196;  Countryman 
and  viper,  Freitag,  197 ;  Shakespeare, 
198;  Siege  of  Antwerp,  Whitney,  199  ; 
Sinon  often  alluded  to  by  Shakespeare, 
200;  Coriolanus,  201;  Death  of  Brutus, 
Alciat,  Whitney,  201  ;  Shakespeare, 
203,  204  ;  Characteristics  of  Brutus  and 
Cassius,  204,  205 ;  Formidable  after 
death,  Alciat,  Whitney,  205 ;  Shake- 
speare, 207  ;  The  lottery,  video  et  taceo, 
Whitney,  208  ;  Costalius,  209 ;  Shake- 
speare, 209 — 211. 

Hives  of  bees,  371.     See  Bees. 

Homo  homini  lupus,  Whitney,  Chrysostom, 
281 ;  Androclus  and  the  lion,  281  ; 
Shakespeare,  282. 

Homo  homini  Deus,  Coustau,  283  ;  Reus- 
ner,  283  ;  Shakespeare,  ' '  in  apprehen- 
sion how  like  a  god,"  284. 

Honours  from  sovereign  princes,  226. 

Hope,  illustrated  by  Alciat,  Paradin, 
Whitney,  and  Sambucus,  182—185  > 
Camerarius,  184;  Spenser,  185. 

Human  life  a  theatre,  Plate  XIV.,  405. 

Hunterian  Museum,  Glasgow,  the  Tewr- 
dannckh,  67. 

Hydra  slain  by  Hercules,  Corrozet,  374; 
Shakespeare,  375. 


I. 

I,  O.  Z.,  Giovio's  Ragionamentot  Venetia, 
1556,  p.  30;  a  Z.,  Alciat's  Diverse 
Impresefo  2),  Lyons,  1551,  p.  84. 

1.  leucht,    Den    nieuwen  leucht  spieghcl, 
1610,  p.  98. 

Italian  emblem-books,  passsim,  and,  86, 
92. 

2.  Iddio,  perche  e  vecchio,  fa  suoi  al  suo 
essempio,     136;    //    coos,    448;    II  fine 


corona  Fopere,  437 ;  Illidtum  non  speran- 
dum,  182  ;  //  mal  me  preme  et  mi  spa- 
venta  Peggio,  124  ;  Immensi  tremor 
oceani^  227;  Importunitas  evitanda,  327; 
Impotentis  vindictce  fccmina,  193  ;  Im~ 
proba  siren  desidia,  252  ;  In  astrologos, 
288  ;  In  avaros  vel  quibus  melior  conditio 
ab  extraneis  offertur,  280  ;  In  divitem 
indoctum,  229  ;  Industria  naturam  cor- 
rigit,  256  ;  Ingenio  superat  vires,  126  ; 
In  hac  spe  vivo,  159,  181,  185;  In  morte 
vita,  185  ;  In  occasionem,  259 ;  In  recep- 
tatores  sicariorum,  275  ;  In  sinu  alere 
serpentem,  199  ;  Insonti  qui  insidias 
struit,  ipse  perit^  54 ;  In  spe  fortitudo, 
182  ;  In  statuam  Bacchi,  248  ;  In 
sludiosum  captum  amore,  441  ;  In  teme- 
rarios,  285  ;  Invidice  descriptio,  432  ; 
Ipsa  sibi  lumen  quod  invidet  aufert,  124  ; 
Isaac  port  at  ligna  sua,  43. 

3.  Image  or  symbol  of  St.  Matthew,  48. 

4.  Icarus   and    ill-fortune,    Alciat,    288; 
Whitney,   288;  Corrozet,  289;   Shake- 
speare, 291. 

Idiot-fool  and  death,  Holbein  and  Shake- 
speare, 472. 

Index,  General,  543 — 571. 

Indian  hieroglyphics,  1 8. 

Industry.  See  Diligence  and  Idleness, 
145- 

Introductory  lines, — Whitney,  D.O.M., 
464  ;  Shakespeare,  464. 

Inverted  torch, — Shakespeare,  Symeoni, 
171;  Paradin,  Whitney,  173;  Shake- 
speare, 170  ;  Vsenius,  171 ;  Corrozet, 
175- 

lo,  245.     See  Jupiter. 


J- 

1.  Joachim,  Abbot,  died  1201  ;  editions 
1475,  1515,  Prophetia  dello  A  Mate  Joa- 
chimo  circa  le  Pontcfici  &>  Re,  67. 

Joan.  S.,  Eiiangelist.,  block-book.  See 
Historia, 

Jodelle,  Rccueil,  1558;  Anstriacis  gentis 
imagines,  1558,  1569,  1573,  p.  80. 


GENERAL    INDEX. 


557 


John,    Don,   of  Austria,  Notes  on  Alciat, 

1572,  p.  86. 
Joseph,    Daniel,   Judith  and  Esther.     wSee 

Histories  of,  45. 
Jovius.     See  Giovio. 
Junius,  Emblemata,   1565  J  an(i  IO  others, 

86. 

2.  Jam  satis,  128  ;   jhis  hospitalitatis  vio- 
lation, 357  ;  Juvenilia  stitdia  cum  pro- 
vectiori  estate  permiitata,  381. 

3.  Jode,  Gerard  de,  89,  282,  298,  313. 
Johnson  and  Steevens'  Shakspeare,  483. 
Johnson,  Dr.,  426. 

Jones,  Mr. ,  Chatham  Library,  on  Joachim, 
67,  123. 

Jonson's  testimony  to  Shakespeare,  496. 

Junius,  quoted: — ^Fame  armed  with  a 
pen,  446;  Oak  and  reed,  314;  Peli- 
can and  young,  395 ;  The  caged  cat 
and  the  rats ;  The  crocodile  and  her 
eggs,  303- 

4.  Jackdaw  in  fine  feathers,  Camerarius, 
/Esop,  I\Iicrocos)Jie,  Shakespeare,  313. 

James  VI.   of  Scotland,  Beza's  emblems, 

122  ;  Epigram  on,  122. 
Janus,  two-headed,  Alciat,  Whitney,  139, 

140 ;  Shakespeare,  140. 
Jar,  with  Emblems,  named  by  Pliny, 

5- 

Jason,  229,  230. 

Jove  laughs  at  lovers'  perjuries,  Shake- 
speare, 327  ;  Van  Veen,  Callimachus, 
Tibullus,  328  ;  Shakespeare,  328. 

June,  illustration  from  Spenser,  ed.  1616, 
p.  136. 

Jupiter  and  lo,  Symeoni,  Ovid,  Shake- 
speare, 245,  246. 


K. 

K,  O.L.,  Plato's  Works  (p.  153),  Franc- 
fort,  1602,  p.  212. 

1.  Kalendrier  des  Bergers,  MS.,  1330,  p. 
42  ;  Kindred  works  in  Latin,  Italian,  and 
German,  1475,  p.  42. 


3.  Kenrick's  Anc.  Egypt,  p.  21. 
King's  Vale  Royal,  211. 

Knight's  Pictorial  Shakspere,  156  ;  Ac- 
knowledging Shakespeare's  acquaintance 
with  Whitney,  396. 

Kugler's  Handbuch  de  geschichte  der  ma- 
lerei,  Berlin,  1847,  pp.  no,  in,  114. 

4.  Katherine,  Queen  of  France,  her  em- 
blem, 128. 

Keir,  near  Dunblane,  N.B.,  its  library  : — 
Astrolabium  plamim,  1488,  p.  42  ;  Al- 
ciat's  Emblems,  1531,  p.  69;  Entry  of 
Philip  of  Spain  into  Antwerp,  I549>  P- 
75  ;  Gueroult's  Premier  livre  des  em- 
blemes,  1550,  p.  75 ;  Doni's  Emblem 
Works,  1552,  1553,  p.  76  ;  Remark, 
86 ;  Guillim's  Heraldry,  100  ;  Thirty-five 
original  Emblem  Drawings  by  Crispin 
de  Passe,  177. 

King-emperor,  or  master-bee,  359 — 363. 

Kingfisher,  Halcyon-days,  Ovid,  Aris- 
totle, and  Pliny,  391  ;  Giovio,  Shake- 
speare, 392. 

Knowledge  of  Emblem-books  in  Britain, 
119—137. 

Koster  of  Haarlem,  about  1430,  p.  43  ; 
Earliest  engraver  of  block-books,  1410 — 
1420,  p.  45. 


L. 

L,  O.  L.,  Camerarius  (i.  35),  Norimberg, 
1605,  p.  38  ;  O.  L.,  David's  Veridicus 
Christianus  (70),  Antverpite,  1606,  p.  60. 

1.    L'Anglois,  Discours  des  hierog.  Egyp- 

tiens,  1583,  p.  87. 

Le  Beyde  Batilly,  Emblemata,  1596,  p.  94. 
Leemans,  Horapollinis  Niloi  Hierogl. ,  1 835, 

examples  from,  pp.  24,  25. 
Lefevre,   Emblemes  de  Maistre  A.  Alciat, 

1536,  p.  70. 
Le  Vasseur,  Devises  des  Emp.  Rom.,  1608, 

p.  93  ;  Devises  des  Rois  de  France,  1609, 

P-  93- 

Libri  cronicarum,  1493,  P-  5°^ 
Locher,    Stultifera    navis,     before     1500, 

Plate  IX.,  57. 


553 


GENERAL    INDEX. 


Lonicer,  J.   A.,  Stand  tind  Orden,   1585, 

p.  9°  >   Venatus  et  aucupium  icon. ,  1582, 

p.  88. 
Lonicer,  Ph. ,  Insignia  sacra;  C&sarea:  maj. , 

1579,  p.  88. 
Lydgate's  Dance  of  Macaber,  about  1430, 

p.  56;  Hollar's  account,   1790,  quoted, 

56. 

2.  La  Jin  couronne  les  ceuvres,   139,  320, 
322  ;  La  fin  nous  faict  tous  egaulx,  321  ; 
La  force  d'eloquence,    273  ;    La  guerre 
doulce  aux   inexperimentez,    152  ;    Latet 
anguis  in  herba,  340  ;  La  vie  deMemoire, 
444  ;  Le  chien  est  retourne  a  son  propre 
vomissement,  et  la  truie  lavee  au  bourbier, 
144  ;  Loues  triall,  179 ;  Lucet  et  ignescit, 
sed  non  rubus  igne  calescit,  64  ;  Lux  tua 
vita  mea,  1 60  ;  Lux  tua  vita  mihi,  1 60  ; 
Lymage  de  Fortune,  261. 

3.  Langhome's  Plutarch,  Timon,  430. 
Le  Bey  de  Batilly,  quoted  : — Adamant  on 

anvil,  347  ;  Apollo  and  Christian  Muse, 
379  ;  Milo  caught  in  a  tree,  344;  Life 
like  a  game  of  dice,  322. 
Lindsay,  Lord,  Christian  Art,  293  ;  Seven 
Ages,  407. 

4.  Labour   in   vain : — Cupid    and    sieve, 
Perriere,  329  ;  Shakespeare,  330  ;  A  tun 
with  holes,  Paradin,  Whitney,  331,  332. 

Laing,    D.,    letter,    1867;   Queen   Mary's 

bed,  123,  note. 
Lamp-burning,    Horapollo,    Shakespeare, 

456. 

Lajid-jewels  of  the  Netherlands,  what,  83. 
Languages,  snatches  of,   by  Shakespeare, 

163. 
Laurel,  safety  against  lightning,  Sambucus, 

422  ;  Whitney,  Camerarius,  423  ;  Shake- 
speare, 424,  425. 

Life,  its  seven  ages,  Plate  XV.,  407. 
Life,     evils     of,     Holbein's    Simulachres, 

Shakespeare,  471. 

Limbert,  Stephen,  of  Norwich  School,  461. 
Limner's  art  in  Emblems,  38. 
Loft,  Capel,  his  opinion  of  Shakespeare, 

106,  107. 
Logomaniacs,  reproved  by  Cudworth,  103. 


Lorrain,  Card,  of,  his  impresa,  124. 

Lottery  of  1569,  Whitney,  208;  Shake- 
speare, 209 — 211. 

Louis  XI.,  Order  of  St.  Michael  in  1469, 
p.  227  ;  his  impresa,  231. 

Louis  XIV.,  history  of,  in  medals,  &c.,  13. 

Love,  its  transforming  power,  Shakespeare, 
349- 


M. 

M,  O.  L.,  Linacre's  Galen,  f.  35,  Paris, 
1538,  p.  119. 

1.  Macaber,  Dance  of,  I4th  century,  p.  39; 
ed.    1484,    p.   39 ;    La   Danse  Macabre, 
1485,  and  several  other  editions,  56. 

Mansion,  Dialogue  des  creatures  moralizie, 

1482,  p.  52. 

Manuel,  El  conde  Lucanor,  1575,  p.  90. 
Marquale,  Diverse  imprese,  1547,  p.  70. 
Martin,  Orus  Apollo  de  sEgypte,  1543, 

p.   22. 

Mercerius,  Emblemata,  1592,  p.  94. 

Mercier,  Horapollo,  1551,  p.  22. 

Messin,  Boissard's  Emblemes,  1588,  pp.  87, 

164,  3°7,  32°,  383,  444- 

Microcosme,  le,  1562,  p.  247. 

Mignault,  or  Minos,  Emblemes  d'Alciat, 
1583,  p.  70  ;  Omnia  Andrea  Alciati Em- 
blemata. Adj.  comm.,  1573  and  1581, 

PP-  7i»  79- 
MIKPOKO2MO2,    Parvus    mundus,     1579 

and  1592,  pp.  88,  267. 
Modius,  Liber  ordinis  eccl.  origo,  1585,  and 

Pandectce  triumphales,  1586,  pp.  88,  89. 
Moerman,     Apologi    creaturarum,     1584, 

pp.  53,  88  ;  De  Cleyn  Werelt,  98. 
Mont  en  ay.     See  De  Montenay. 
More's  "pageauntes,"  1496,  p.  120. 
Murner,  Chartiludium  logicce,  1507,  p.  64; 

Narren  Beschiv'trung,  1512,  1518,  p.  65. 

2.  Maleficio  beneficium  compensatum,  197; 
Male  par ta,  male  dilabuntur,  128,  502; 
Manie    droppes  pierce    the    stone,    324 ; 
Mater iam  superabat  opus,  124;  Maulvaise 
nourriture,   1 75  >  Mea  sic  mihi  prostDit, 
124  ;  Media  occidet  die,  124 ;  Mediis  tran- 


GENERAL    INDEX. 


559 


quillus  iu  ttndis,  125,  note ;  Mens  imnwta 
manet,  335  ;  Me  pompfe  provexit  apex, 
158,  168;  Merces anguina,  198;  MIKPON 
*PONTI2ANTE2  2HKPATOT2,  155  ; 

Moderata  vis  impotenti  violentia  potior, 
1 66  ;  Mori  vivijiante,  185  ;  Much  rain 
"wears  the  marble,  324  ;  Multiplication  de 
proces,  374  ;  Mulier  umbra  viri,  468  ; 
Murus  ceneus,  sana  conscientia,  423. 

3.  Magnat,  On  flower  signs,  1855,  p.  1 8. 
Martin,     Shakespeare's    seven    ages,     1848, 

p.  407. 
Menestrier,     Philosophies    and    Judicium, 

!595»  PP-  78,  79- 

Microcosm,  quoted  : — Fortune,  263  ;  Pro- 
metheus, 267  ;  Arion,  280  ;  Milo,  298. 

Mtgnault,  quoted  :  —  Symbols,  Coats  of 
Arms,  and  Emblems,  ed.  1581,  or  1608, 
p.  2 ;  Narcissus,  295  ;  Hares  and  dead 
lion,  304,  305. 

Milton,  Emblem,  9 ;  Paradise  Lost,  curi- 
ously portrayed  in  Adams  appel,  1642, 
p.  132  ;  in  Boissard's  Theatrum,  The 
fall  of  Satan,  Plate  XL,  133. 

Moerman  quoted,  Wolf  and  ass,  53,  54. 

Moine's  Devises,  Roy  des  abeilles,  363. 

Montalde,  P.  Horatius,  79. 

More,  SirT.,  quoted,  120,  461,  481. 

Motley,  Dutch  Republic,  81,  82. 

M  ulgrave,  Voyage  to  the  North  Sea,  348. 

4.  Maidens,    Hindoo    and    Persian,    and 
flowers,  1 8. 

Manchester  Free  Library,  Faerno's  Fables, 

IS^S,  P-  85- 

Man,  like  a  wolf,  281  ;  like  a  god,  283. 

Man  measuring  his  forehead,  129. 

Man  swimming  with  a  burden,  from 
Perriere,  480;  Whitney,  480;  Shake- 
speare, 481. 

Man's  greatness,  Coustau,  283  ;  Reusner 
and  Shakespeare,  283,  284. 

Manuscript  Emblem-books,  Macaber,  39  ; 
Astronomical,  41 ;  Speculum  humance 
salvationis,  42,  44  ;  Bedford  Missal,  44  ; 
Hortulus  animcE ,  58  ;  Crosse,  100  ;  Eng. 
Alciat,  10 1. 

Map  of  the  world,  Sambucus,  351  ;  Shake- 
speare, 352. 


Marble,  writings  on,  457 — 462. 

Marcus  Curtius,  5. 

Marquetry  or  mosaic  work,  in  Emblems,  4. 

Mary  of  Lorrain,  her  impresa,  123. 

Mary,  queen  of  Scotland,  educated  in 
France,  1548,  p.  121  ;  Bed  of  state 
wrought  by  her  with  many  emblems, 
123;  Account  of  it,  123 — 125. 

Matthias,  emperor,  96,  97. 

Maximilian  I.,  Tewrdannckh  attributed  to 
him,  1517,  p.  67  ;  Ehrenpforte  and 
Triumphwagen  in  his  honour,  67. 

Maximilian  II.,  patron  of  Sambucus,  85. 

Maxwell.     See  Stirling- Maxwell. 

Mead,  Dr.,  his  copy  of  \^&  Dance  of  Death, 
40. 

Medeia  and  the  swallows,  as  shown  by 
Alciat,  190 ;  Whitney,  190 ;  Shake- 
speare, 192. 

Mercury  and  fortune,  Alciat,  255  ;  Mercury 
charming  Argus,  Drummond,  123  ; 
Mercury  mending  a  lute,  Sambucus, 
Whitney,  256 ;  Shakespeare,  257,  258. 

Metrical  renderings  or  translations  :  Diana, 
3;  the  Fool,  34;  Wolf  and  ass,  54; 
Oarsman's  cry,  6 1,  62  ;  Epigram  on 
James  I.,  122;  Janus,  140;  Diligence, 
145  ;  Sun  of  the  soul,  161  ;  Sun  and 
wind,  165;  Inverted  torch,  171;  Money, 
178;  Hope,  184;  Snake,  198;  Drums, 
206  ;  Wreaths,  222  ;  Porcupine,  232 ; 
Courage,  233  ;  Lady  Bona,  235  ;  Wine, 
249;  Sloth,  251;  Fortune,  255,  262; 
Prometheus,  266;  Dog  and  moon,  271  ; 
Eloquence,  272  ;  Assassin,  276;  Actaeon, 
277 ;  Arion,  280;  Man  to  man  a  god, 
283 ;  Phaeton,  285  ;  Daphne,  297  ; 
Pegasus,  299  ;  Insult  to  Hector,  304  ; 
Dead  lion,  306 ;  Elm  and  vine,  308  ; 
False  feathers,  312 ;  Ash  and  reed, 
314 ;  Cupid  and  the  sieve,  330 ;  Mind 
unmoved,  335  ;  Adamant,  348 ;  Wasps, 
360  ;  Falcon,  367  ;  Renewed  youth, 
369  ;  Unicorn,  372  ;  Law's  delay,  374 ; 
Glory  of  poets,  380 ;  Phoenix,  383  ; 
Alcyone,  391 ;  King-fisher,  392 ;  Peli- 
can, 394,  395  ;  Wounded  stag,  398 ; 
Theatre,  405  ;  State  of  man,  408 ;  The 
hen,  411;  Beauty,  419;  Integer  vitse, 
421;  Laurel,  422;  Timon,  428;  Con- 


56o 


GENERAL    INDEX. 


stancy,  436 ;  Cupid  and  a  ship,  437  ; 
Chaos,  448,  449 ;  Wrongs  on  marble, 
457 ;  We  flee  what  we  follow,  467 ; 
Ban-dogs,  482;  Riches  and  poverty, 
489. 

Michael,  St.,  order  of,  1469,  p.  227. 
Milo,   in   a  tree,   De  Batilly,   344 ;    Bull- 
bearing,  Shakespeare  ;  Microcosm,  296. 
Minerva  superintending  the  Argo,  20. 
Minnesingers,  or  troubadours,  remains  of, 
1461,  p.  50. 

Miscellaneous  Emblems  :  Words  and  forms 
of  thought,  Paris  and  Helen,  463  ;  D. 
O.  M.,  464,  465;  Time  flying,  &c.,  466 
—  468 ;  Shadows  fled  and  pursued,  468  ; 
Death  and  sleep,  469—471  ;  Death's 
fool,  471;  Old  time,  473,  474;  Simila- 
rity of  dedications,  475  ;  Pine-trees  in  a 
storm,  475 — 477  ;  Correspondencies  in 
words,  477 — 479  ;  Man  swimming  with 
a  burden,  480 ;  Ban-dogs,  481—483  ; 
Child  and  motley  fool,  484 ;  Ape  and 
miser's  gold,  487  ;  Hands  of  Providence, 
489 ;  Time  leading  the  seasons,  491 ; 
Eternity,  491. 

Montgomerie,  Earl  of,  Shakespeare's  dedi- 
cation to,  122. 

Moral  and  aesthetic  Emblems,  allusions  to, 
Corrozet,  Montenay,  Le  Bey  de  Batilly, 
Shakespeare,  411 — 462  : — Things  at  our 
feet,  411—413  ;  Drake's  ship,  413—415  ; 
Adam  in  the  garden,  415,  416  ;  Gem  in 
a  ring  of  gold,  417—420;  Conscience, 
420 — 422  ;  Laurel,  safety  of,  against 
lightning,  422—425  ;  Pleasant  vices, 
425  ;  Timon  of  Athens,  426—431 ;  Envy, 
431—433;  Ship  tossed  on  the  sea,  434— 
440 ;  Student  in  love,  440—442 ;  Ruins 
and  writings,  443—445  J  Fame  armed 
with  a  pen,  446  ;  Good  out  of  evil,  447  ; 
II  Caos,  448  ;  Chaos,  449—454 ;  Thread 
of  life,  454,  455  ;  Lamp  burning,  456 ; 
Wrongs  on  marble,  457 — 461  ;  Write  in 
dust,  461  ;  Higher  morality,  462. 

Moth  and  candle,  151—153.  .See  Butterfly. 

Motley  fool  and  child,  499. 

Mouse  caught  in  an  oyster,  Alciat,  Whit- 
ney, Freitag,  130. 

Mulcaster,  of  Merchant  Tailors'  school, 
1561,  p.  100. 


Music,  Shakespeare's  appreciation  of,  116. 

Mythological  characters,  Emblems  for,  241 
—  301  .-—Instances,  243,  244;  Milo,  244  ; 
Cupid's  wings,  245  ;  Cadmus,  245  ;  Atlas, 
245  ;  Jupiter  and  lo,  245  ;  Bacchus,  246 — 
248  ;  Circe,  250  ;  Sirens,  253  ;  Mercury 
and  Fortune,  255  ;  Mercury  and  the 
lute,  256  ;  Mercury,  257,  258  ;  Fortune, 
or  occasion,  and  opportunity,  258  —  260; 
Fortune,  261  ;  Fortune  on  the  rolling 
stone,  263  ;  Occasion,  263  -  265  ;  Pro- 
metheus bound,  265 — 269  ;  The  dog 
baying  at  the  moon,  270  ;  Orpheus, 
271 — 274 ;  Actason  and  the  hounds, 
274—279  ;  Arion,  279—281  ;  The  con- 
trary sentiment,  281 — 283  ;  Phaeton, 
284 — 287  ;  Daedalus  and  Icarus,  287 — 
291;  Niobe,  291 — 294,  Narcissus,  294 
— 296  ;  Daphne,  296,  2,0,7  ;  Milo,  297  ; 
Pegasus,  298—300. 

Mythology,  a  fruitful  source  of  illustrations, 
241  ;  Open  to  every  one,  242  ;  Ovid  the 
chief  storehouse,  242. 


N. 

1.  Narren  Beschworung,  65.     See  Murner. 
Narren  Schyff,  1494,  p.  57;  Supplied  texts 

for  Geyler,  66.     See  Brant. 

Navicula,  1511,  p.  66.     See  Geyler. 

Navis  stultifera,  before  1500,  p.  57.  See 
Locker. 

Nef  des  dames  vertueuses,  1503,  p.  63.  See 
Champier. 

Nef  des  folles,  selon  les  cinq  sens,  1501,  p.  6 1. 

Nef  des  princes,  1502,  p.  63.  See  Cham- 
pier. 

Nestor,  Histoire  des  homines — de  Medici, 
ed.  1564,  p.  80. 

North,  Morall  philosophic  of  Doni,  1570 
and  j6oi,  pp.  76,  91,  120. 

2.  Ne  per  morte  muore,  309  ;  Nil  penna 
sed  usus,    370;    Nimium   rebus  ne  fide 
secundis,   476  ;  Niuno  vecchio,  Spaventa 
Iddio,   136 ;    Nobil  e  quel,  ctf  e  di  virtu 
dot  at  a,  366  ;  Non  absque  Thesco,  143  ;  No 
pleasure  without  pain,  333  ;  Nous  savons 
bien  le  temps,   392  ;  Nunquam  siccabitiir 


GENERAL    INDEX. 


czstu,  125,  note  ;  Nusgtuttn  nisi  rectum, 
124;  Nnsquam  tuta  fides,  196. 

3.  Nebula  nebulonum,   1620,   p.  65.     See 
Flintner. 

North's  Plutarch,  1579,  Timon  of  Athens, 

426;  Epitaph,  430,  431. 
Notes  and  queries,  1862,  p.  67. 

4.  Napoleon's  return  from  Elba,  18. 
Narcissus,    from    M  ignault,    Alciat,  •  294  ; 

Aneau,  Whitney,  Shakespeare,  295,  296. 

Nature,  Emblems  from  facts  in,  and  from 
properties  of  animals,  346 — 376: — Natu- 
ral, one  of  the  divisions  of  emblems, 
346 ;  Frosty  Caucasus,  346 ;  Adamant 
indestructible,  347,  348  ;  Bear  and  cub, 
power  of  love,  348  —350  ;  The  inhabited 
world,  35°—353  5  Zodiac,  353—355  ; 
Turkey,  356—358  ;  Vulture,  358  ;  Com- 
monwealth of  bees,  358 — 365  ;'  Happe 
goulden  honie  bringes,  364  ;  Falconry, 
365 — 368 ;  Eagle  renewing  its  youth, 
369  ;  Ostrich  spreading  its  wings,  370; 
Unicorn,  371—373  ;  Hercules  and 
dragon,  373— 375  ;  Various  animals, 
375,  376. 

Nemesis  and  hope,  182.     See  Hope. 

Niobe  and  her  children,  from  Alciat,  292  ; 
Aneau,  Whitney,  Shakespeare,  293. 

Nowell,  Dr.  Alexander,  395. 

Nun,  or  canoness,  Holbein,  469. 


o. 

1.  Ocadti  academid,  &c.,  1568.     See  fiiwe. 
Orozco,  Emblemas  morales,  1610,  pp.  31?  99- 
Ovid,  Heroidum  liber,  1473,  p.  242  ;  Meta- 
morphoses, 1480,  p.  242  ;  M.  cum  figuris 
depictis,    1497,    p.    35  ;    Metamorphoses, 
Spanish,    1494,   p.    242 ;    Italian,   1497? 
p.    242;    Metamorplioses,    figurato,    &c., 
J559>  PP-  35,  245  J   Plantin's  ed.  1591, 
p.    246  ;    Golding's  English  translation, 
1565  and  1567,  pp.   241,  243  ;  La  bible 
des  poetes,  242. 

2.  Orphei    musica,    272 ;     Otiosi    semper 
cgciites,  146  ;   O  -vita  mi  sera  tonga,  268. 


3.  Oetlinger,  Bibliog.  biog.  nniv.,  97. 
Ormerod,  History  of  Cheshire,  2 1 1. 

Ovid,  Metamorphoses,  quoted  : — Singular 
subscription,  242  ;  Swan,  214 ;  Circe, 
250 ;  Orpheus,  274 ;  Actseon,  278  j 
Phaeton,  284;  Niobe,  291;  Daphne, 
296 ;  Phoenix,  385  ;  Halcyon,  391  ; 
Wounded  stag,  399  ;  Cupid's  arrow 
golden,  400 ;  Chaos,  448 ;  2  Trist. , 
Jove's  thunderbolt,  209. 

4.  Oak  and  reed,   Junius,  Shakespeare, 
Vaenius,  315  ;  Whitney,  316. 

Oarsman's  cry,  61,  62. 

Occasion,    or    opportunity,    258 ;     Alciat, 

259  >  Whitney,  260 ;  Shakespeare,  260, 

264,  265  ;  Plate  XII.,  265. 
Old  men  at  death,  Shakespeare,  215. 
Old  time,  Shakespeare,  473. 
Olive  and  vine,  249.     See  Vine. 
Orange,  Prince  of,  device,  125,  note. 
Order,  of  St.  Michael,  227  ;  Of  the  golden 

fleece,  228. 
Ornamentation   of  houses,  Emblems  used 

for,  126 — 130,  131. 
Orpheus,  Coustau,  271 ;  Reusner,  Whitney, 

272;     Ovid,    274;     Shakespeare,    273, 

274. 
Ostrich,  eating  iron,    126  ;    Giovio,   233  ; 

Camerarius     and     Shakespeare,     234  ; 

Spreading    its    wings,     Paradin,    370  j 

Whitney  and  Shakespeare,  370,  371. 


P. 

P,  O.  L,,  Alciat's  Emb.  p.  xii.,  Antverp., 
1581,  p.  318. 

1.  Palazza,  /  discorsi  imprese,  &c.,  1577, 
pp.  79,  86. 

Paracelsus,  Prognosticate,  1536,  p.  71. 

Paradin,  Quadrins  historiques  de  la  Bible, 
1555,  P-  75  ;  Devises  heroiques,  1557, 
Symbola  heroica,  1567,  and  other  editions 
before  1600,  p.  75;  English  version, 
1591,  p.  75  ;  Menestrier,  79. 

Parker,    Tryumphes    of  Petrarcke,    .1564, 

P-  55- 
Passseus,  95,  96.     See  De  Passe. 

4  c 


562 


GENERAL    INDEX. 


Peacham,   Minerva   Brilanna,    1612,    pp. 

99,  100. 

Percivalle,  Versus  et  emblemata,  1588,  p.  79. 
Pergaminus,        Dyalogus       Creaturarum, 

written  in  the  I4th   century, — editions, 

Latin,      1480,     1483  ;     French,      1482  ; 

and  English,  1520,  pp.  51,  52,  66. 
Perriere,  60.     See  De  la  Perriere. 
Persone,  alluded  to  by  Menestrier,  79. 
Petrarch,  Trionphi,  1475,  1510,  and  1523, 

P-  55- 

Pezzi,  La  vigna  del  signore,  1589,  p.   87. 
Pfintzing,  Teivrdannckh,  1517;  love  adven- 
tures  of    Maximilian   I.    and    Mary   of 

Burgundy,  67,  68. 
Phasianinus,    Latin  version   of  Horapollo, 

1517,  p.  64. 

Philieul,  Dialogue  des  Devises,  1561,  p.  78. 
Pierius  Valerian,  Hieroglyphica,  1556,   pp. 

24,  80. 
Pignorius,      Vetustissima     tabula,     1605  ; 

Characteres  sEgyptii,  1 608,  pp.   95,  97  ; 

and  Short  notes  on  Alciat,  1618,  p.  71. 
Pinciano,  Los  Emblemas  de  Alciato,  1549, 

p.  70. 
Pinedi,  Duodecim  symbola  in  Jobum,  1600, 

p.  79. 
Pittoni,  Imprese  di  diversi  principi,  1566, 

p.  86. 

Ponce  de  Leon,  Epiphanitis,  1587,  p.  28. 
Porri,  Vaso  di  verita,  1597,  p.  92. 
Porro,  Ilprimo  libra,  1589,  p.  87. 

2.  Parfaite  est  Vamitie  qui  vit  apres  la 
mort,  307 ;  Partium  TTJJ  oj/coyjueVrjs 
symbola,  35 1  ;  Patria  cuique  chara, 
361  ;  Paupertas  immerita,  489;  Pecunia 
sanguis  et  anima  mortalium,  177  ; 
Perfidus  familiaris,  195  ;  Pennce  gloria 
immortalis,  446  ;  Perpolit  incultum 
paulatim  tempus  amorem,  348;  Per 
vincula  crescit,  123 ;  Peu  a  pen,  349 ; 
*t \av7ia,  295  ;  Plena  di  dolor  voda  de 
sperenza,  124;  Pietasfilioruminparentes, 
191  ;  Pietas  revocabit  ab  orco,  124;  Piu 
por  diilzura  que  por  fuerza,  162,  167  ; 
Plus  par  doulceur  que  par  force,  165  ; 
Plus  virttite  quam  arniis,  or  Plvs  par 
vertv  qve  par  armes,  164 ;  Poetarum 
gloria,  379 ;  Ponderibus  virtus  innata 


resistit,  124  ;  Porta  h<zc  dausa  eritet  non 
aperietur,  47 ;  Post  amara  dulcia,  332  ; 
Has  yepovra.  ^ovffiKov,  213  ;  Tl£>s  \abv 
ireiO-tiviov  j3cunAc?,  358  ;  Precipitio  senza 
speranza,  1 24 ;  Precium  non  vile  laborum, 
228;  Principis  bona  imago,  143  ;  Prin- 
cipis  dementia,  360 ;  Pro  lege  et  grege, 
394;  Propera  tarde,  1 6  ;  Prudcntes  vino 
abstinent,  249  ;  Pur  reposer,  7. 

3.  Palcephatus,  on  Action,  278. 
Paradin,    quoted, — Ape  and  miser's  gold, 

501  ;  Arrow  wreathed  on  a  tomb,  183  ; 
Barrel  full  of  holes,  332 ;  Butterfly  and 
candle,  151;  Fleece,  golden,  228 ;  Gold 
on  the  touchstone,  175  ;  Leafless  trees 
and  rainbow,  128;  Michael,  order  of  St. , 
227  ;  Ostrich  with  stretched  wings,  370 ; 
Phoenix,  234,  385  ;  Snake  on  the  finger, 
342 ;  Stag  wounded,  399 ;  Wheat 
among  bones,  184;  Wreath  of  chivalry, 
169;  Wreath  of  oak,  224;  Wrongs  on 
marble,  458. 

Penny  Cyclopedia,  on  Pericles,  168  ;  on  the 
plays  of  Henry  VI.,  238;  Unicorn,  372. 

Percy  Reliques,  Dragon,  373. 

Pfister,  earliest  printed  book  on  scriptural 
subjects,  1462,  p.  45  ;  Earliest  German 
book,  1461,  p.  50. 

Pindar,  on  Symbol,  2. 

Plantin,  1564 — 1590,  fifty  editions  of 
Emblem-books,  85. 

Plato,  the  swan,  214;  king-bee,  359. 

Plautus,  "lifetime,"  161. 

Plutarch,  Timon  of  Athens,  430 ;  Carking, 
468. 

Priestley,  Lectures  on  History — on  Grecian 
coins,  13. 

Proclus,  Seven  ages  of  man,  407. 

4.  Painters    referred    to,    Romano,    no; 
Rubens,  96;  Titian,  in,  114. 

Palm-tree,  a  device  on  Queen  Mary's  bed, 

124. 
Parallelisms  and  correspondencies  between 

Shakespeare      and      emblem      writers, 

numerous,  494. 
Pegasus  described,  141 — 144  ;  Alciat,  299  ; 

Shakespeare,  300. 
Pelican,  Epiphanius,  393  ;  Camerarius  and 


GENERAL    INDEX. 


563 


Reusner,  394 ;  Junius  and  Whitney,  395  ; 

Shakespeare,  396.    Note  in  Knight,  396. 

Pembroke,  earl  of,  dedication  to,  1668,  p. 

122. 

Pericles,  accepted  as  of  Shakespeare's  au- 
thorship, 156,  157,  158 ;  the  triumph- 
scene,  158;  First  knight,  Lux  tua  vita 
miki,  160—162  ;  Second  knight,  Pm 
por  dulzura  que  por  fuerza,  162 — 167; 
Third  knight,  Me  pomace  provexit  apex, 
168—170;  Fourth  knight,  Quod  me  alii, 
me  extinguit,  170 — 175;  Fifth  knight, 
Sic  spectanda  fides,  175 — 181  ;  Sixth 
knight,  In  kac  spe  vivo,  181—  186. 

Personification,  especially  in  mythology,  258. 

Perth,  earl  of,  Emblems  in  a  letter  to, 
124,  note. 

Phaeton,  Ovid,  284 ;  Alciat,  285  ;  Sy- 
meoni,  284  ;  Shakespeare,  286,  287. 

Philip,  duke  of  Burgundy,  1429,  Golden 
fleece,  228. 

Phoenix,  emblem  for  long  life ;  for  return- 
ing to  friends  ;  restoration  after  long 
ages,  23  ;  Oneliness  or  loneliness,  235, 
236;  Accounts  of,  22,  23,  234—236; 
Phoenix'  nest,  380;  Emblem  of  loneliness, 
Paradin,  Giovio,  234,  235  ;  Shakespeare, 
236  ;  Emblem  of  duration,  Horapollo, 
23  ;  Emblem  of  new  birth,  and  resur- 
rection, Freitag,  381  ;  Mary  of  Lorraine, 
123  ;  Emblem  of  oneliness,  Paradin  and 
Reusner,  385  ;  Whitney,  387 ;  Shake- 
speare, 388—390  ;  Emblem  of  life 
eternal,  386. 

Phoenix  with  two  hearts,  Hawkins,  383  ; 
the  Virgin  mother  and  her  son,  entire  one- 
ness of  affection,  384  ;  Shakespeare,  384. 

Phryxus,  or  Phrixus,  229.  See  Golden 
Fleece. 

Picture  writing,  1 8,  30. 

Picture  and  short  poesie,  marks  of  the 
Emblem,  31. 

Pilgrim  travelling,  Cullum's  Haivsted,  128. 

Pine-trees  in  a  storm,  Horace,  Sambucus, 
475  ;  Whitney,  476  ;  Shakespeare,  477. 

Plate,  of  emblematical  character,  20. 

Pleasant  vices,  their  punishment,  425. 

Poetic  ideas,  emblems  for,  377 — 4IQ  ; 
Shakespeare's  splendid  symbolical  ima- 
gery, 377;  Glory  of  poets,  379,  380;  The 


phoenix,  381—383  ;  Phoenix  with  two 
hearts,  384  ;  The  bird  always  alone,  384 
—390;  Kingfisher,  391—393;  Pelican, 
393 — 398;  Wounded  stag,  397—400; 
Golden,  the  epithet,  400 ;  Death  and 
Love,  404,  405  ;  Cupid  in  mid-air,  404 ; 
Human  life  a  theatre,  405,  406 ;  Seven 
ages  of  life,  407 — 410. 

Poet's  badge,  Alciat,  218  ;  Whitney,  217  ; 
Shakespeare,  219. 

Poet's  glory,  379  ;  Le  Bey  de  Batilly,  380; 
Shakespeare,  380. 

Politics  in  emblems,  //  Principe,  34. 

Porcupine,  Drummond,  124;  Giovio,  231  ; 
Camerarius,  Shakespeare,  232. 

Portcullis,  emblem  used  by  Henry  VIII., 
124. 

Powers  granted  for  noble  purposes,  Whit- 
ney, Shakespeare,  412. 

Printing  with  blocks,  45 — 49;  with  move- 
able  types,  50. 

Progne   or   Procne,    Aneau,    Shakespeare, 

193- 

Prometheus  bound,  Alciat,  266 ;  Aneau, 
267 ;  Microcosme,  267  ;  Reusner,  W  hit- 
ney,  268 ;  Shakespeare,  268,  269. 

Proverbs,  Emblems  in  connection  with, 
318 — 345  : — Proverbs  suggestive  of  nar- 
rative or  picture,  318;  La  fin  couronne 
les  ceuvres,  320 — 322  ;  Manie  droppes 
pierce  the  stone,  &c.,  324;  To  clip  the 
anvil  of  my  sword,  325 — 327;  Jove  laughs 
at  lovers'  perjuries,  328,  329  ;  Labour  in 
vain,  329 — 332  ;  Every  rose  its  thorn, 
332 — 334  ;  True  as  the  needle  to  the  pole, 
334—337  ;  Out  of  greatest  least,  337— 
339  ;  A  snake  in  the  grass,  340,  341  ; 
Who  against  us  ?  342,  343  ;  Hoist  with 
his  own  petar,  343,  344. 

Providence,  and  girdle,  413  (see  Drake's 
ship] ;  Making  poor  and  enriching,  Plate 
XVI.,  489. 

Pyramid  and  ivy,  Drummond,  124. 


Q. 

1.  Quadrins  historiqnes  de  la  Bible,  1553  — 
1583,  twenty -two  editions  in  various  lan- 
guages, 73. 


564 


GENERAL    INDEX. 


Qua drins  historiques  du  Genese,  1553,  p.  73. 
Quadrins  historiques  de  V  Exode,  1553,  p.  73- 

2.  Qua  ante  pedes?  411  ;    Qua  sequimur 
fugimus,  nosquefugiunt,  466  ;   Qua  supra 

nos,  nihil  ad  nos,  260  ;  Quel  che  nutre, 
estingue,  175  J  Q.ue  ^as  puede  la  elo- 
quen$ia  qiie  lafortaliza,  164  ;  Quern  nulla 
pericula  terrent,  347  ;  Quibus  rebus  con- 
fidimus,  Us  maxime  evertimus,  344  ; 
Quid  nisi  victis  dolor,  124;  Qui  me  alit, 
meextinguit,  171 — 173 ;  Quis  contra  nos  ? 
126,  342  ;  Quod  in  te  est,  prome,  395  ; 
Quod  me  alit,  me  extinguit,  170,  174; 
Quod  nutrit  extinguit,  1 74  ;  Quod  sis  esse 
velis,  312  ;  Quo  modo  vitam  ?  456 ;  Quo 
pacto  mortem  seu  hominis  exitum  ?  454  ; 
Quo  tendis  ?  128. 

3.  Quarles,  definition  of  Emblem,  i. 
Quinctilian,  use  of  the  word  Emblem,  5. 

4.  Qui  or  quod,  variations  in  the  reading, 
174. 


R. 

R,  O.  L.,  Nefdesfolz,  xlix.,  Paris,  1499,  p. 
411  ;  0.  L.,  of  uncertain  origin,  p.  531. 

1.  Rabelais,  Les  songes  drolatiques  de  Pan- 
tagruel,  1565,  p.  86. 

Rastall,  Dialogue  of  creatures,  1520,  p.  51. 
Regiomontanus,  or  Muller,  1476,  p.  42. 
Regiselmus.     See  Joachim. 
Reusner,    Emblemata,    1581,    Aureolorum 

Emblem.,  1591,  pp.  88,  89,  251. 
Rime  de  gli  academici  occulti,  1568,  p.  86. 
Rinaldi,  //  mostruosissimo,  1588,  p.  87. 
Ripa,  Iconologia,  &c.,  1603,  1613,  p.  92. 
Riviere,    Nef  des  folz  du  monde,    before 

1500,  P-  57- 
Rollenhagen,  Les  emblemes,   1611,   p.    95; 

Nucleus  Emblematum,  1613,  p.  97. 
Ruscelli,  Discorso,    1556,   p.    77  ;    Imprese 

illustri,  1566,  p.  78. 
Riixner,  Turnier-buch,  1530,  p.  68. 

2.  Rabie  succensa,  356  ;  Remember  still  thy 


ende,  320;  Renovata  juventus,  369;  Res 
human  &  in  summo  declinant,  435  ;  Re- 
spice  et  prospice,  139;  Rompecti  i  I  per  cote, 
125  ;  Rore  madet  vellus,  Permansit  arida 
tcllus,  47  ;  Rota  vit$  q^le  septima  notatur, 
407. 

3.  Rapin,  History  of  England,    1724,   p. 

122. 

Redl  museo  Borbonico,  1824,  p.  19. 

Reusner,  quoted:— Circe,  251  ;  Hares  and 
dead  lion,  306 ;  Man  a  god  to  man, 
283  ;  Orpheus  and  harp,  272 ;  Pegasus, 
143  ;  Pelican  and  young,  394  ;  Phoenix, 
385 ;  Prometheus,  268 ;  Serpent  and 
countryman,  197  ;  Sirens,  252  ;  Swan, 
215,  216  ;  Unicorn,  371. 

Roscoe,  Leo  X.,  303. 

4.  Recapitulation  and  conclusions,  492 — 

495- 

References  and  coincidences  not  purely 
accidental,  494. 

References  to  passages  from  Shakespeare, 
in  the  order  of  the  plays  and  poems,  and 
to  the  corresponding  devices  and  subjects 
of  the  Emblems,  Appendix  iii.,  531—542. 

Rhetoric,  chambers  of,  their  pursuits  and 
amusements,  81,  82  ;  Extent  and  nature, 
82. 

Rich  and  poor,  Plate  XVI.,  489. 

Rock  in  waves,  Drummond,  125,  note. 

Romano,  Julio,  works  known  to  Shake- 
speare, 1 10 ;  Where  there  are  now  works 
of  his,  no,  in. 

Romano,  Capitano  Girolamo  Mattei,  233. 

Rose  and  thorn,  Whitney,  Perriere,  333  ; 
Vsenius,  333  ;  Shakespeare,  334. 

Rubens,  desciple  of  Vsenius,  96. 

Rudolph  II.,  85,  89,  96. 

Ruins  and  writings,  Whitney  and  Costalius, 
444;  Shakespeare,  444,  445,  Boissard, 
449. 


S. 

S,  O.  L.,  Giovio's  Sent.  Imp.  3,  Lyons, 
1562,  pp.  156,  515;  O.  L.,  Sambucus 
(Emb.  232),  Antverp.,  1564,  p.  302. 


GENERAL    INDEX. 


565 


1.  Sadeler,    Symbola    divina  et   humana, 
1600,    1 60 1,  p.    95  ;    Theatmm  morum, 
1608,  pp.  95,  96,  97. 

Sambigucius,  Inter pretatio,  1556,  p.  77. 
Sambucus,    Emblemata,    1564,    and    Em- 

blemes  de  Jehan  Sambucus,  1567,  p.  85; 

Notes   by  Don  John  of  Austria,   1572, 

p.  86. 
Sanctius,    or    Sanchez,    on    Alciat,    1573, 

pp.  71,  88. 

Sassus,  referred  to  by  Menestrier,  79. 
Sceve,  Delie,  1544,  p.  75. 
Schopperus,  UavoirXia,  1568,  and  De  omni- 
bus illiberalibus  sive  mechanicis  artibus, 

1574,  p.  88. 

Schrot,  Wappenbuch,  1581,  p.  90. 
Scribonius,  1550.     See  Graphczus. 
Sevus,  referred  to  by  Menestrier,  79. 
Skyp  offooles.     See  Watson  and  Barclay. 
Sicile,  Le  blason   de  toutes  armes,  and  Le 

blason  des  couleurs,  1495,  p.  58. 
Simulachres  6°  historiees  faces  de  la  mart, 

*538>  P-  7*  5  fifteen  editions,  72,  471. 
Soto.     See  De  Soto. 

S.  (P.),  Heroical devices,  1591,  pp.  75,  120. 
Spanish  Emblem-books,  passim,  and,  70, 

90,  99. 
Speculum  humance  salvationis,  MS.,  printed 

about  1430  by  Koster,  43  ;  Description 

of  his  edition,  43  ;    Many  editions  and 

kindred  works  before  1500,  p.  43  ;  Plates 

IV.  and  V.,  44. 
Spelen  van  sinne,  allegorical  plays,   1539, 

p.  81. 

Shi  HI  und  ivapenbuch,  1579?  p.  31. 
Slimmer,  Neue  kunsllichejiguren  Biblischen, 

1576,  p.  90. 
Stockhamer,     commentariola     to     Alciat, 

1556,  p.  70. 
Stultifera  navis,  previous  to  1500,  Locher, 

Riviere,  Plate  IX.,  57  ;  Other  versions, 

57  ;  Badius,  61. 
Symeoni,  Vita  et  Met.  cTOvid.,  1559,  pp.  3, 

35>  79  5  Devises  ou  embleines  heroiques  et 

morales,    1561,    pp.     15,     16 ;    Imprese, 

1574,  p.    17  ;  Imprese  heroiche  et  morale, 

1562,  p.   78;    Sententiose  imprese,   1562, 

p.  78. 

2.  Sa  virtu  ni1  attire,  123  ;  Scelesti  hominis 


imago  &  exitus,  53  ;  Scribit  in  marmore 
Iczsus,  457,  458  ;  Scripta  manent,  443  ; 
Servati  gratia  avis,  224 ;  Sibi  canit  et 
orbi,  217;  Sic  majora  cedunt,  366;  Sic 
spectanda  fides,  159,  175,  178;  Si  Dens 
nobiscum,  quis  contra  nos  ?  342  ;  Sifor- 
tuna  me  tormenta,  il  sperare  me  con- 
tenta,  137,  \^',Siforttmemetotirmente, 
Vesperance  me  contente,  138  ;  Silentmm, 
208 ;  Sine  justitia  confusio,  449,  450  ; 
Sola  facta,  solum  Deum  sequor,  234  ; 
Sol  animi  virtus,  161  ;  Sola  vivit  in  illo, 
126  ;  Speravi  et  perii,  130  ;  Spes  altei'a 
vita,  183,  184;  Spes  aulica,  182;  Spes 
certa,  182  ;  Spiritus  durissima  coquit, 
233  ;  Stultitia  sua  seipsum  saginari,  3 10 ; 
Stiiltorum  infinitus  est,  66 ;  Superbia, 
292;  Superbia  vltio,  293. 

3.    Sadeler,    Zodiacus  christianus,     1618, 

P-  353- 

Sambucus,  quoted: — Actseon,  277;  Astro- 
nomer, 335  ;  Ban-dog,  482  ;  Child  and 
motley  fool,  484  ;  Elephant,  196 ;  Fore- 
head, 129  ;  Hen  eating  her  own  eggs, 
411;  Laurel,  422;  Mercury  and  lute, 
256  ;  Pine-trees  in  a  storm,  475  ;  Ship 
on  the  waves,  435  ;  Time  flying,  466  ; 
Timon,  427  ;  World,  map  of,  351. 

Schiller,  Werke,  199. 

Schlegel,  on  Pericles,  157. 

Shakespeare  quoted,  by  way  of  allusion,  or 
of  reference  to  : — ^Esop's  Fables,  303  ; 
Actseon,  276,  279  ;  Adam  hiding,  416  ; 
Adamant,  348  ;  yEneas  and  Anchises, 

191  ;  Ape  and  miser's  gold,  488 ;  Apollo 
and  the  Christian  muse,  379 ;  Argonauts 
and  Jason,  230  ;  Arion,   283  ;  Astrono- 
mer   and    magnet,     356 ;    Atlas,     245, 
Bacchus,  249  ;  Ban-dog,  484  ;  Bear  and 
ragged  staff,   237 — 240  ;  Bear  and  cub, 
349,    350 ;    Bees,    361—365  ;    Bellero- 
phon  and  chimaera,  300 ;  Brutus,  201 — 
205  ;    Butterfly  and  candle,   153  ;   Cad- 
mus,    245  ;      Cannon     bursting,     345  ; 
Casket  scenes,   149 — 154,    186  ;  Cassius 
and   Caesar,    193;    Chaos,    451 — 453; 
Child  and  motley  fool,   485  ;  Chivalry, 
wreath  of,   168  ;   Circe,  252  ;   Cliffords, 

192  ;  Clip  the  anvil  of  my  sword,  327  ; 


566 


GENERAL    INDEX. 


Commonwealth  of  Bees,  362  —  365  ; 
Conscience,  power  of,  421  ;  Coriolanus, 
201  ;  and  his  civic  crowns,  226  ;  Coro- 
nation scene,  9  ;  Countryman  and  ser- 
pent, 197  ;  Cupid  blinded,  331  ;  Cupid 
in  mid-air,  404 ;  Daphne,  297  ;  Death, 
469  ;  Dog  baying  the  moon,  269  ;  Dogs 
not  praised,  145,  483  ;  D.  O.  M.,  464, 
465  ;  Drake's  ship,  415  ;  Drinking  bout 
of  Antony  and  his  friends,  246  ;  Drops 
pierce  the  stone,  324  ;  Dust,  to  write  in, 
461  ;  Eagle  renewing  its  youth,  369  ; 
Elizabeth,  queen,  404 ;  Elm  and  vine, 
309 ;  Emblem  defined,  9 ;  Emblems 
without  device,  149 — 151 ;  End  crowns 
all,  32o,  323  5  Engineer  hoist,  345  ; 
Envy,  433  5  Estridge,  371  ;  Eternity, 
491,  492;  Falconry,  367,  368;  Fame 
armed  with  a  pen,  445,  446  ;  Fin 
couronne  les  ceuvres,  320 — 323;  Fortune, 
262  ;  Fox  and  grapes,  311  ;  Frosty 
Caucasus,  346  ;  Gem  in  a  ring,  419 ; 
Golden,  400,  404  ;  Gold  on  the  touch- 
stone, 175,  180;  Golden  Fleece,  227; 
Good  out  of  evil,  447  ;  Greatest  out  of 
least,  337 — 339 ;  Hands  of  Providence, 
489,  490 ;  Happe  some  goulden  honie 
bringes,  365  ;  Hares  and  dead  lion, 
304  ;  Hen  eating  her  own  eggs,  412  ; 
Heraldry,  222,  223  ;  Homo  homini  lupus, 
280,  283  ;  Homo  homini  Deus,  283, 
284;  Hydra,  375;  Icarus,  291  ;  Inver- 
ted torch,  170;  Jackdaw  in  fine  feathers, 
313;  Janus,  two-headed,  140;  Jupiter 
and  lo,  246  ;  Jove  laughs  at  lovers' 
perjuries,  328  ;  King-fisher,  392  ;  Labour 
in  vain,  331,  332  ;  Lamp  bvtrning,  456  ; 
Laurel,  422—425;  Lottery,  209 — 211; 
Love's  transforming  power,  349  ;  Man 
with  a  fardel  or  burden,  481  ;  Man's 
greatness,  284;  Map  of  the  world,  351, 
352;  Medeia,  192;  Mercury,  257,  258; 
Michael,  order  of  St.,  227  ;  Milo,  297  ; 
Narcissus,  296 ;  Niobe,  293,  294 ;  Oak 
and  reed,  315,  316  ;  Occasion,  or  oppor- 
tunity, 260,  264,  265  ;  Old  Time,  473  ; 
Orpheus,  273,  274;  Ostrich,  234,  371; 
Pegasus,  299,  300  ;  Pelican,  394 — 397  ; 
Pen,  its  eternal  glory,  447  ;  Pericles, — 
the  triumph  scene,  158,  160 — 186 ; 


Phaeton,  286,  287  ;  Phcenix,  236,  381 — 
390 ;  Pine-trees,  477 ;  Poet's  badge, 
218,  219;  Poet's  glory,  379,  380; 
Porcupine,  232 ;  Powers  granted  for 
noble  purposes,  412  ;  Progne,  194  ; 
Prometheus  bound,  268;  Romano,  Julio, 
no;  Ruins  and  writings,  443 — 445; 
Rose  and  thorn,  333,  334;  Serpent  in 
the  breast,  198  ;  Seven  ages  of  man, 
407 — 410 ;  Shadows  fled  and  pursued, 
468  ;  Ship  in  storm  and  calm,  435 — 440  ; 
Sirens,  254  ;  Skull,  human,  337—339  ; 
Snake  in  the  grass,  341  ;  Snake  on  the 
finger,  343  ;  Stag  wounded,  397—400  ; 
Student  entangled  in  love,  441  ;  Sun 
and  Avind,  160;  The  setting  sun,  323; 
The  swan,  219;  Sword  on  an  anvil,  327; 
Sword  with  a  motto,  138  ;  Testing  of 
gold,  175,  1 80,  181  ;  Theatre  of  life, 
405,  406  ;  Things  at  our  feet,  411,  412  ; 
Thread  of  life,  454  ;  Time  leading  the 
seasons,  491  ;  Timon,  427—431;  Tur- 
key and  cock,  357,  358 ;  Unicorn,  371, 
372  ;  Vine  and  olive,  249  ;  Whitney's 
dedication  lines,  464  ;  Wreath  of  chiv- 
alry, 1 68  ;  Wreaths,  222  ;  Wreath  of 
oak,  225  ;  Wrongs  on  marble,  457 — 
462  ;  Zodiac,  signs  of,  353. 

Shakespeare,  acquainted  with  languages, 
106,  107,  168 ;  with  the  works  of 
Julio  Romano,  no  ;  and  of  Titian,  115  ; 
with  Emblems,  137,  158,  1 86. — Attain- 
ments, 106 — 116;  sufficient  for  cultiva- 
ting Emblem  literature,  107,  108. — 
Dramatic  cereer,  1590 — 1615,  pp.  91,92  ; 
An  Emblem  writer,  148,  154,  493  ; 
Genius,  105  ;  Judgment  in  works  of  art, — 
sculpture,  109,  no;  ornament,  in; 
painting,  1 12 — 115  ;  melody  and  song, 
115,  1 16. — Knowledge  of  ancient  histoiy 
and  customs,  105,  106,  225,  226  ;  Marks 
of  reading  and  thought,  242  ;  Tendency 
to  depreciate  his  attainments,  105;  Use  of 
term  Symbol,  2 ;  Device,  8 ;  Emblem,  9. 

Shepheards  calender,  Spenser,  134 — 137, 
185. 

Siegenbeek,  Geschiedenis  der  Nederlandsche 
letterkunde,  82. 

Smith,  Dictionary  of  Greek  and  Roman 
Antiquities,  10. 


GENERAL    INDEX. 


567 


Sotheby,  Principia  typographica,  1858, 
pp.  48,  49. 

Spenser,  ideas  of  devices,  8;  Early  sonnets, 
88;  Visions,  134;  Shepheards  calender, 
134,  136,  185  ;  Ban-dogs,  481. 

Stamm  Bitch,  1619,  Adam  hiding,  416. 

Statius,  badges,  47. 

Suetonius,  Tiber.  Casaris  vita,  5. 

Sy mbola  divina  et  humana,  1652,  p.  176. 

Symeoni,  quoted: — Ape  and  miser's  gold, 
486  ;  Butterfly  and  candle,  153  ;  Chaos, 
448  ;  Creation  and  confusion,  35 ; 
Diana,  3  ;  Dolphin  and  anchor,  1 6 ; 
Forehead  shows  the  man,  129  ;  Inverted 
torch,  171;  Phaeton,  284;  Serpent's 
teeth,  245  ;  Wounded  stag,  398 ;  Wrongs 
on  marble,  457. 

Syntagma  de  symbolis,  2. 

4.  Saint  Germain,  fair  at,  imprese,  124, 
note. 

Salamander,impresa  of  Francis  I.,  123, 125. 

Satan,  fall  of,  Boissard,  1596,  Plate  XL, 
132,  133- 

Satire  in  Emblems,  33. 

Saviour's  adoption  of  a  human  soul,  Vamius, 
Plate  II.,  32. 

Savoy,  duke  of,  his  impresa,  124 ; 
Madame  Bona  of,  her  device,  235. 

Sepulchre  and  cross,  Diana  of  Poitiers,  183. 

Serpent  and  countryman,  Freitag,  Reusner, 
197 ;  Serpent  in  the  bosom,  Shakespeare, 
198. 

Seven  ages  of  man,  Arundel  MS.,  406  ; 
Hippocrates,  Proclus,  AntonioFederighi, 
Martin,  Lady  Calcott,  407  ;  Block-print 
described,  Plate  XV.,  407,  408  ;  Shake- 
speare, 409,  410. 

Shadow,  fled  and  pursued,  Whitney,  467 ; 
Shakespeare,  468. 

Shield  untrustworthy.      See  Brasidas. 

Shields  of  Achilles,  Hercules,  ^Eneas,  &c., 
20. 

Ship,  with  mast  overboard,  Drummond, 
124  ;  Ship  on  the  sea,  Drummond,  125  ; 
Ship  tossed  by  the  waves,  Sambucus, 
Whitney,  435  ;  Ship  sailing  forward, 
Whitney,  Alciat,  436  ;  Boissard,  437  ; 
Shakespeare,  438—440. 

Sieve  held  by  Cupid,  340.     See  Cupid. 


Silent  academy  at  Hamadan,  17. 

Silversmiths,  their  craft  and  emblems,  20. 

Similitudes  and  identities  in  literature,  302. 

Sinon,  194—200  ;  Virgil,  194  ;  Whitney, 
J95>  196,  199  ;  Shakespeare,  200. 

Sirens,  —  Alciat,  253  ;  Whitney,  254  ; 
Shakespeare,  254. 

Six  direct  references  to  Emblems  in  the 
Pericles  of  Shakespeare,  156 — 186. 

Skiff  of  foolish  tasting,  Badius,  1502,  p.  61. 

Skull,  human,  Aneau,  Whitney,  337 ; 
Shakespeare,  338,  339. 

Snake  in  the  grass,  Paradin,  Whitney,  340 ; 
Shakespeare,  341. 

Snake  on  the  finger,  Paradin,  342;  Whitney, 
Shakespeare,  343. 

Soul,  its  hieroglyphic  sign,  25,  26. 

Spanish  motto,  162,  164,  167. 

Speculum  humana  salvationis,  Plates  IV. 
and  V.,  44. 

Stag  wounded,  Giovio  and  Symeoni,  398; 
Paradin,  Camerarius,  Virgil,  Ovid, 
Vsenius,  399 ;  Shakespeare,  399,  400. 

Stage,  the  world  a,  409.     See  Seven  ages. 

Star,  its  hieroglyphic  meaning,  25. 

Statuary  and  architecture  excluded,  n. 

Stirling-Maxwell,  Bart.,  of  Keir,  De  Bry's 
Stam  ^^nd  ivapenbuch,  1593?  P-  32  > 
MIKPOK02M02,  by  Costerius,  98.  See 
also  Keir. 

Stork,  emblem  of  filial  piety,  &c.,  28; 
Epiphanius  and  Alciat,  28. 

Student  in  love,  Alciat,  Whitney,  441 ; 
Shakespeare,  442. 

Subjects  of  the  Emblem  Imprese,  &c.,  515 
—530. 

Sun  and  moon,  in  dialogue,  52. 

Sun  of  York,  223  ;  Sun  in  eclipse,  124  ; 
Sun  setting,  Whitney,  323  ;  Sun,  wind, 
and  traveller,  Corrozet,  165 ;  Freitag, 
Shakespeare,  166. 

Swan  singing  at  death,  ^Eschylus,  Hora- 
pollo,  213;  Virgil,  Horace,  214;  Old 
age  eloquent,  Aneau,  215  ;  Pure  truth, 
Reusner,  216;  Camerarius,  217;  Insignia 
of  Poets,  Alciat,  Whitney,  218  ;  Shake- 
speare, 219,  220. 

Sword  with  motto,  138. 

Sword  on  anvil,  Perriere,  326  ;  Whitney, 
327  ;  Shakespeare,  325,  327. 


568 


GENERAL    INDEX. 


Sword  to  weigh  gold,  Drummond,  124. 
Symbol,  more  exact  use,  Pindar,  ^Eschy- 

lus,  Cudworth,  Shakespeare,  2. 
Symbols  and  Emblems,  almost  convertible 

terms,  I ;  yet  a  difference,  2. 
Symbolic  properties  of  animals,  28. 
Symbolical  imagery,  fine  example  of,  377. 


T. 

T,    O.  L.,   Nef  des  Folz.    7,    Paris,   1499, 
p.  xiii. 

1.  Taegius,  referred  to  by  Menestrier,  79. 
Tambaco,  Speculu-pacietierum,  1509,  p.  65. 
Tasso,  Torq.,  Discorsi  del  poeme,  79,  92. 
Tasso,   Here.,   referred  to  by  Menestrier, 

79- 
Taurellius,  Emblema  physico-ethica,   1595, 

pp.  94,  96. 
Tewrdannckh,  in  honour  of  Maximilian  I. , 

dedicated  to  Charles  V.,    splendid  vo- 
lume, 67. 

Theatre  des  animaux,  93.     See  Desprez. 
Todtentanz,  the  original  editions,   1485  to 

1490,  not  by  the  Holbeins,  56. 
Trebatius,  Latin  version  of  Horapollo,  1515, 

p.  64. 

Triumphwagen,  67.     See  Durer. 
Troiano,     Discorsi     delli    triomfi,     1568, 

p.  86. 

Turnier-buch,  68.     See  Durer. 
Typotius,  1601 — 1603,  p.  95.     See  Sadeler. 

2.  't  Geld  vermagalles,    177;     Temere  ac 
pericvlose,  or   Temerite  danger evse,   152  ; 
Tempus  irrevocable,    36,  490;     Tempus 
omnia  terminat,  323  ;    Te  stante  virebo, 
124 ;   Time  terminates  all,   323  ;   Trino 
non  convenit  orbis,  124  ;  True  as  needle 
to  the  pole,  334 ;  True  as  steel,  337. 

3.  Tennyson,  Elaine,  30. 
Tibullus,  on  lovers'  vows,  quoted,  328. 
Timperley,   Dictionary  of  printers,    1839, 

pp.  44,  56. 
Titian,  Triumph  of  truth  and  fame,  32  ;  his 

paintings,  in,  114. 
Tod,  remarks  on  Spenser,  137. 


4.  Tabley,  Cheshire,  ancient  hall  of  the 
Leycesters,  with  emblem,  131. 

Talbot,  earl  of  Shrewsbury,  207,  227. 

Theatre,  human  life,  Boissard,  Plate  XIV., 
405  ;  Shakespeare,  406. 

Theological  conjecture,  a  curious,  383. 

Thieves,  so  triumph,  319. 

Things  at  our  feet,  Whitney,  Sambucus, 
411  ;  Types  of  powers  to  be  used, 
Shakespeare,  412. 

Thingwall,  the  emblem  library  there,  86. 

Thompson,  H.  Yates,  of  Thingwall,  5, 
44. 

Thread  of  life,  Horapollo,  454 ;  Shake- 
speare, 455. 

Time  flying,  Sambucus,  466  ;  Whitney, 
467  ;  Plutarch,  468  ;  Shakespeare,  468, 
469  ;  Turning  back,  Shakespeare,  473. 

Time  leads  the  seasons,  Vsenius,  Horace, 
Plate  XVII.,  491  ;  Shakespeare,  491. 

Timon  of  Athens,  Dr.  Drake,  426  ;  North, 
Plutarch,  Sambucus,  426,  427  ;  Shake- 
speare, 428,  429  ;  Epitaph,  430 ;  Mode 
of  death,  431. 

Titus,  son  of  Vespasian,  his  emblem,  16. 

Tongue  with  bat's  wings,  Cullum  and 
Paradin,  128. 

Tree  of  life,  126.     See  Arrow  wreathed. 

Tree  in  a  churchyard,  Drummond,  124. 

Triangle,  sun  and  circle,  Drummond,  124. 

Triumph  scene  in  the  Pericles,  1589,  pp. 
160—186. 

Tronus  Ciipidinis,  De  Passe,  348. 

Trophy  on  a  tree,  Drummond,  124. 

True  as  needle,  Sambucus,  334  ;  Whitney, 
335  ;  Shakespeare,  336 ;  lode  stars,  336. 

True  as  steel,  337. 

True  men  so  yield,  319. 

Truth,  an  emblem  so  named,  20. 

Turkeycock,  Freitag,  Camerarius,  357 ; 
Shakespeare,  358. 


u. 

1.  Ulloa,    Alphonsus,    1561,    Menestrier, 
79- 

2.  Unde,  124,  note  ;  Undiyue,  123  ;  Unica 
semper  avis,    385  ;    Unum   quidcm,    sed 


GENERAL    INDEX. 


569 


leonem,  124 ;  Ut  casus  dederit,  124  ; 
Ut parta  labnntur,  128;  Utilia  prudenti, 
imprudenti  futilia,  53- 

4.    Ulysses  and  Diomed  as  an  emblem,  5. 
Unicorn,  371  ;    Reusner,    Brucioli,   Penny 

Cyclopedia,      and      Camerarius,      372  ; 

Shakespeare,  373. 


V. 

1.  Vsenius,  93  ;  Zinnebtelaen,  1603,  p.  98  ; 
Q.  Horatii  Fl.  Emblemata^  1607  &  1 612, 
pp.  36,  95  ;  Amorum  Emblemata,  Latin, 
English,  and  Italian,  1608,  pp.  95,  99  ; 
Antorum  Emblemata,  Spanish,  1608, 
pp.  99,  122;  Amoris  Divini  Emblemata, 
1615,  pp.  32,  99. 

Valence,  Emblesmes — du  Segnor  Espagnol, 
1608,  pp.  93,  94. 

Valerian,  80.      See  Pierius. 

VanderNoot's  Theatre,  &c.,  1568,  pp.  87, 

91. 

Van  Ghelen,  Flern.  trans.  Navis  stultornm, 

1584,  p.  90. 
Van  Vischer,  Sinnepoppen  (Emblem  play), 

1614,  p.  98. 
Verdier,  trans,  into  French,  Imagini,  &c., 

1581,  p.  87. 
Villava,  Empresas  Espirituales,  &c.,  1613, 

P-  99- 
Virgil  Solis,  85;  Libellus  sartorum,   1555, 

p.  77  >   figures  for  the  Neiv   Testament, 

and  Artistic   book   of  animals,    between 

1560  and  1568,  p.  85. 
Volncribus,  -de,     sive    de    tribus    coin »/ his, 

MS.,  I3th  century,  44. 

2.  Vel  post  mortem  fonnidolosi,  205  ; 
Veritas  armata,  123 ;  Veritas  invicta, 
264 ;  Via,  verita's,  vita,  462  j  Victrix 
animi  equitas,  314  ;  Victrix  casta  fides, 
371  ;  Video  et  taceo,  208;  Vigilantia  et 
custodia,  210;  Vina  coronal,  101  ;  Vincit 
qui  patitiir,  315  ',  Violentior  exit,  i$4  > 
Vipera  vim  perdet,  sine  vi  pariente  puella, 
47  ;  Virgo  salutatur,  innupta  manens  gra- 
vidatur,  47  ;  Virttiti  fortuna  comes,  2 1 1  ; 
Vine  nt  I'hias,  444 ;  Volat  irrevocabile 


ternptis,  36,  494 ;  Voluptas  cerumnosa, 
277  ;  Vijt  Adams  appel  Sproot,  Ellende 
Zonde  en  Doodt,  132. 

3.  Vsenius,  quoted,  Butterfly  and  candle, 
152;  Christian  Love  presenting  the  soul 
to  Christ,  Plate  II.,  32;  Conscience,  421  ; 
Cupid  felling  a  tree,  324 ;  Elm  and  vine, 
308 ;    Fortune,   263 ;    Rose   and   thorn, 
333  ;  Ship  sailing,  437  ;    Time  leading 
the   seasons,    Plate   XVII.,   490,    491  ; 
Two  Cupids  at  work,  179  ;  Venus  dis- 
pensing  Cupid,   from    his    oaths,    328 ; 
Wounded    stag,    399  ;     Amornm    Em- 
blemata,   Latin,    English,    and   Italian, 

179,  437- 
Van  der  Veen,  Adams  appel,  1642,  Plate 

X.,  132. 
Van  Hooghe,  Frontispiece  of  Cebes,    1670, 

P-  13- 

Virgil,  sEneid,  Bees,  359  ;  Circe,  251  ; 
Crests,  14;  Shield  of  ^Eneas,  20;  Sinon, 
194;  Stag  wounded,  398  5  Swan,  214  ; 
1} Eneide  de  Virgile,  Lyons,  1560,  p<  36. 

4.  Van  Hooft,  illustrious  Dutch  poet,  98. 
Varieties  of  Emblems,  18 ;  great,  34. 
Vases  with  emblems,  Warwick,  10 ;  Italo- 

Grseco,  19. 
Venus  dispensing  Cupid   from   his  oaths, 

328. 
Verard,  1503,  publisher  of  Les  figures,  &c., 

63- 

Vine  and  olive,  Whitney,  Alciat,  249. 
Vine  watered  with  wine,  Drummond,  124. 
Volvelle,  astrological,  42. 
Vostre,  Simon,  of  Paris,  printer,  39. 


w. 

W,    O.  L. ,  Symeoni's  Vita  d"1  Ovidio,  Lyons, 
1559,  P-  I- 

1.  Watson,  Shyppe  of  Fool es,  1509,  pp.  57, 

65,  H9- 

Whitney,    Choice  of  Emblemes,    1586,    pp. 

91,   I2O. 

Willet,   Sacrornm  Emblematum   Ceufuria, 
1598,  pp.  99,  100,  119,  120. 

4  i> 


570 


GENERAL    INDEX. 


Wohlgemuth,     Libri    cronicarnm,     1493, 

p.  56. 
Wyrley,    True  use  of  armorie,    1592,   pp. 

99,  ioo. 

2.  Wat  den  mensch  aldermeest  tot"1  const e 
venvect?  82  ;    Where    the   end   is  good, 
all  is  good,  437;   With  manie  bloives  the 
oke  is  ouerthrowen,  .324. 

3.  Walcott,     Sacred    Archeology,     1868, 
P-  27- 

Waller,  master-bee,  363. 

Wedgwood,  Life  of ,  fictile  ornament,  19. 

Whitney,  Fac-simile  Reprint,  1866,  p.  172; 
Emblems  quoted  by  Knight  to  illustrate 
Hamlet,  396. 

Whitney,  quoted : — Definition  of  Emblems, 
6;  Actaeon,  278;  Adam  hiding,  416; 
^Eneas  bearing  Anchises,  191  ;  Ants  and 
grasshopper,  148  ;  Ape  and  miser's  gold, 
128,  487  ;  Arion  and  the  dolphin,  281  ; 
Astronomer  and  magnet,  335  ;  Bacchus, 
248  ;  Ban- dog,  483  ;  Barrel  with  holes, 
332 ;  Bear  and  ragged  staff,  236  ;  Bees, 
361,  364  ;  Brasidas,  195  ;  Brutus,  2O2  ; 
Chaos,  450  ;  Child  and  motley  fool, 
484  ;  Circe,  251  ;  Cupid  and  death,  402  j 
Diligence  and  idleness,  146  ;  Dog  baying 
the  moon,  270;  D.  O.  M.,  464; 
Drake's  ship,  413  ;  Elephant,  196;  Elm 
and  vine,  308  ;  Envy,  432  ;  Fame  armed 
with  a  pen,  446  ;  Fardel  on  a  swimmer, 
480;  Fleece,  golden,  229,  230;  Fore- 
head, 129;  Fox  and  grapes,  311  ;  Gold 
on  the  touchstone,  178  ;  Hares  and  dead 
lion,  305  ;  Harpocrates,  silence,  208 ; 
Hen  eating  her  own  eggs,  412  ;  Hope 
and  Nemesis,  182  ;  Icarus,  288  ;  Intro- 
ductory lines,  D.  O.  M.,  464;  Inverted 
torch,  173  ;  Janus,  139,  note ;  Laurel, 
423  ;  Lottery  in  London,  208  ;  Medeia, 
190;  Mercury  and  lute,  256;  Mouse 
and  oyster,  130  ;  Narcissus,  295  ;  Niobe, 
293  ;  Oak  and  reed,  315  ;  Occasion, 
260  ;  Orpheus,  272  ;  Ostrich  stretching 
out  its  wings,  370 ;  Pelican,  395  ;  Phcenix, 
387 ;  Pine-trees  in  a  storm,  476  ;  Pro- 
metheus, 267  ;  Rose  and  thorn,  333  ; 
Ruins  and  writings,  443  ;  Serpent  in  the 


bosom,  199  ;  Shadows,  468  ;  Ship  tossed 
by  the  waves,  435  ;  Ship  sailing  forward, 
436  ;  Sirens,  254  ;  Skull,  338  ;  Snake 
in  the  grass,  340  ;  Snake  on  the  finger, 
342  ;  Student  entangled,  441  ;  Sun  set- 
ting, 323;  Swan,  of  poets,  217;  Sword 
on  an  anvil,  327  ;  Time  flying,  467  ; 
Vine  and  olive,  249  ;  Wreaths  on  a 
spear,  222  ;  Wrongs  on  marble,  460. 
Wrangham,  Plutarch,  431. 

4.  Walker,  Rev.  T.,  462. 

Waves  and  siren,   125,  note ;   Waves  with 

sun  over  them,  125. 
Wheat  among  bones,  Paradin,  183  ;  Came- 

rarius,  184;  Boissard  and  Messin,  185. 
Wheel  rolling  into  the  sea,  124. 
Whitehall,   collection    of  paintings   there, 

founded  by  Henry  VIII.  and  Charles  I., 

in. 
Who  against  us?    Paradin  and  Whitney, 

342 ;  Shakespeare,  343. 
Wilbraham,  Tho.,  Esq.,  the  old  English 

gentleman,  467. 

William  III.,  history  of,  in  medals,  14. 
Wings  and  feathers  scattered,  124. 
Wolf  and  ass,  a  fable,  52 — 54. 
Woltmann,  Holbein  and  his  time,  Death's 

fool,  471  ;  Shakespeare's  mistakes  as  to 

costume,  106. 
Woodcock,    so   strives   the,   with  the  gin, 

Shakespeare  and  ^Esop,  319. 
Words  and  forms  of  thought,   some,   the 

same  in  Whitney  and  Shakespeare,  463. 
World,  inhabited,  three-cornered,  earth  the 

centre,    Brucioli,   350;  Sambucus,  351  ; 

No  America,   351,    352  ;    Shakespeare, 

352  ;  Three-nooked  world,  353. 
World  a  stage,  133. 

Wreath  of  chivalry,  Paradin,  169  ;  Shake- 
speare, 1 68,  170. 
Wreath  of  oak,  Paradin,  224 ;  Shakespeare, 

225,  226. 
Wreaths  of  victory,  Whitney,  Camerarius, 

222 ;    Shakespeare,   222,  223  j  Paradin, 

224. 
Writings  remain,  Whitney,  443  ;  Boissard, 

444 ;  Shakespeare,  444,  445. 
Wrongs  on  marble,   Symeoni,  457;   Para- 
din,    458  ;     Shakespeare,     459,     460  ; 


GENERAL    INDEX. 


Whitney,  460  ;  Origin  of  the  sentiment, 
460;  Sir  T.  More  and  Columbus,  461  ; 
Nobler  sentiments,  462. 


X. 


Xenophon's  Cyropccdia,  king  bee,  359. 


Y. 

Y,  the  letter,  an  emblem  of  life,  320. 
Yates,  Joseph  B.,  Alciat,  MS.,  1610,  p.  101 


Sketch   oj   Emblem-books,    4,    5  ;    Silver 
emblem,  5  ;  Dedication  Plate  to,  p.  v. 


z. 

Zainer,  Das  helden  buck,  1477,  p.  55. 
Zeb,  Dr.,  of  the  Silent  Academy,  17. 
Zinne-beelden,  oft  Adams  appel,  Plate  X., 

132. 

Zisca,  named  by  Alciat  and  Whitney,  206. 
Zodiac,   signs  of,   Sadeler,  Brucioli,    Plate 

XIII. ,  353  ;  Shakespeare,  353—355- 
Zuingerus,  Icones,  1589,  p.  89. 


COLOPHON. 
JR.\~  literarutn  studiis  immortalitatem  acqniri. 


Alciat,  ed.  1534,  p.  45. 


BRADBURY,    EVANS,    AND   CO.,    PRINTERS,    WHITEFRIARS. 


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